Monday Inspiration. Lilian Darmono.

Here’s a little something to start your week off with. Three animated shorts for Pearson English Learning, illustrated by the very talented Lilian Darmono and animated by Abel Reverter and Alasdair Willson from Territory. The illustrative style combined with fluid animation help take a fairly boring topic, and make it a visual treat. While I watched all of these with the volume on, I also went back and watched them with the volume off, scrubbing through the video to take in the subtle nuances that Reverter and  Wilson created.

 

1stAveMachine Animates Sonos.

1stAveMachine and director Nico Casavecchia just kill it with this series of six animated room transformations for the Sonos WiFi stereo systems. Working with 72andSunny Casavecchia and company have created some really fun spots in a variety of styles that truly memorable. I watched these three or four times trying to figure out if any of it is live action that they have blended the CG and VFX with live action footage and I don’t think they have. I think the only live action shot is the opener with the hand holding the phone. It doesn’t matter though because these are simply great, and that is what good advertising should be.

Art, Copy & Code. Nike’s “Phenomenal Shot” campaign.

The business of advertising is a tricky game. You need to keep one step ahead of the competition, constantly create memorable and unique advertisements, develop those ideas across an ever expanding horizon of channels, and constantly create something new for your client. One agency that seems to do this with ease on a regular basis is W+K and when they team up with Grow and Google they produce something really unique that shows just how the world of advertising is changing in clever new ways.

In a campaign for Nike, W+K and Grow created a series of Real-Time ads that were designed to let fans celebrate, remix, and share customized posters, and images within 10 seconds of a sporting event happening live. “Phenomenal Shot” uses a Nike sponsored player rendered  in 3D along with a series of prewritten headlines, phrases, stickers, and filters, that allow fans to remix that moment and share with friends across a variety of digital networks.

The Real-Time Ads are rendered with a  3D-Engine and then distributed via the Google Ad Network across all devices creating an immersive experience powered by HTML5, CSS, and java script. Using the gyroscope that is built in to smartphones and tablets fans can spin the Nike athlete in 3D space to create the perfect shot before embellishing with ad-ons. Since the entire experience is rendered with WebGL the experience happens within the browser and there is no need for plugins or a dedicated app. Pretty damn slick, and a great way to promote your brand without being overly pushy or doing a hard sell. For more info on #ArtCopyCode click here.

TNT – “The People Network” and How It Was Made.

Below are two videos from who produced TNT’s “The People Network” directed by Mischa Rozema. There is the original spot, and then the making of / behind the scenes video as well. The original spot is a really, really solid piece of work, but as usual I am completely fascinated by the video that shows just how complex the production of this was. One of the things I really like about the behind the scenes documentary, is the fact that they talk about developing storyboards, and using animatics to determine things like cameras, lighting, lenses, etc. All of those things are hugely important for such an ambitious project. The crew is listed below both videos and I have to say, I’m surprised its not larger considering what went into the production and post production of this spot. For more info on the production click here.

“We decided to really push what could be achieved in camera by actually creating a full size human truck on the set. It worked by having a huge, truck-sized, metal rig that could be pulled by an actual truck. We then filled it with an incredible Czech stunt team (famous for big Hollywood blockbusters) that had been rehearsing for weeks and gave the whole project a realistic approach.”

Credits TNT “THE PEOPLE NETWORK”:

Agency: Etcetera
Concept : Peter van Leeuwen, Markus Ravenhorst
Art Director : Peter van Leeuwen
Copywriter : Markus Ravenhorst
TV-producer agency : Robert Roosenstein

Date shoot : July 2014
Locations/Studios : Prague, Austria, Belgium & Amsterdam
Film / Video-Material : digital (Epic Red Dragon)

Production Company : PostPanic
Director : Mischa Rozema
Executive Producer : Jules Tervoort, Annejes van Liempd
Producer (Liege) : Liene Berina
Production Assistant : Kristian Stoykov

Post Production: PostPanic
Head of PostProduction : Ivor Goldberg
Supervisor on set : Chris Staves, Matthijs Joor

Line Production Company : Savage, Prague
Executive Producer : Klara Kralickova
Line Producer : Vojta Ruzicka
Art Direction : David Baxa
Stunt Team : Filmka stunt team, Czech Republic
Stunt Coordinator : Jiri First
Making of : Jan Svejkar

D.O.P. : Jon Gaute Espevold

Grading : Scott Harris @ Glassworks
Off-line edit : PostPanic
Editor off-line : Benjamin Putland
On-line edit : PostPanic

Music composition & Sound Design: Pivot Audio / Guy Amitai
Sound Mix: Lawrence Horne

Stills
Photographer : Jiri Svorc
Image manipulator : Nick Strong

Cast

Marek Zelinka : TNT driver, Daan Daams : wink guy, Sabina Feldmanova : customer woman, Petr Kocourek : truck driver, Mikulas Matous : Kid 1, Matej Splichal : Kid 2

Post Production team PostPanic

VFX Supervisor : Ivor Goldberg, Chris Staves
Assistant Post Producer : Liene Berina
3D & VFX Artists : Matthijs Joor, Jeroen Aerts, Chris Staves, Marti Pujol, Dimos Hadjisavvas, Juri Agostinelli, Dieuwer Feldbrugge, Guido Ekker (intern), Francois Heysen (intern)
2D/3D Artists : Doma Harkai, Erwin vd IJssel, Stefano Paron, Donat Aron Ertsey, Hubert Heutinck (intern)
Matte Painting : Marco Iozzi, Marti Pujol
Tracking & Match Moving : Giso Spijkerman

Additional Post Production:

Additional VFX support : Andrea Staiano, Thiago Porto, Dennis Volkerts, Glassworks
Rotoscoping : Dot VFX, Roto Art Studios
Motion Capture : Stepan Kment, Bohemia Interactive a.s.

Regular Division.

Talk about a head bender. The video below is a visual twister, and when you think about the amount of work that had to be done in post to complete this it’s pretty insane. After watching it I went back and scrubbed through the video and tried to get a count on the number of masks, and nested comps it would have taken to pull this off. I work in After Effects every day, so I am keenly aware of how organization of layers, comps, masks, and other elements play a crucial role in your final output. All I can say is artist Joe Hamilton, has to be one of the most organized video artists out there. The clip is visually stunning, with nice optical illusions, sound design, and mesmerizing visual impact. I’d love to see a behind the scenes look at how this and may of his other works are created.

“Joe Hamilton makes use of technology and found material to create intricate and complex compositions online, offline and between.”

Cement Truck Murals by Andrea Bergart.

This morning while I was searching for a completely unrelated item I came across this video on Vimeo about artist Andrea Bergart and a project she was working on about a year ago. The short film looks at how she transformed cement trucks in New York into rolling murals that feature her brightly colored, geometric works. It’s a great idea, and one that she talks about in the film. Why hadn’t anyone thought about painting cement trucks before and turning them into rolling murals? The short film by  and Simon Biswas has a really nice quality to it. High production value, nice 70’s inspired soundtrack, casual, fresh and informative.

Iron Mountain “Back Up Tapes”.

What a nice ad for Iron Mountain from Sebas and Clim for agency Velocity. The script is absolutely hilarious while making a serious point about archiving your data properly. Sebas and Clim worked with paper artist and illustrator: Lobulo to create the elements that were animated for the piece infusing them with a sense of humor and whimsy that grounds the light hearted voice over.