I get the Think With Google email every week, and I have to admit I only open it on occasion. It’s filled with great insights but I just seem to miss opening some of them from time to time. I didn’t open the one on Machine Learning that arrived about a month ago and I wish I had. The email was part of a larger campaign that featured a spectacular animated piece by The Furrow and one of the best-executed microsites I’ve seen in a while by This is Grow. Below are the primary video and the making of which doesn’t go into a lot of detail but shows how something that looks so simple is actually quite complex. The links above take you to the microsite and to This is Grow’s home page.
When I first started producing digital content at the end of the 1990s 3D most high-end CG work was done by large studios that could build out render farms to distribute the render load. I remember working on a Mac Quadra 950 with megabytes of RAM, yes megabytes not gigabytes, in Strata Studio Pro, and the computer taking all weekend to render one or two frames. The point of me mentioning this is just how powerful computers and software have gotten in the last couple of decades and the amazing quality of work that is being produced.
This afternoon a friend emailed me a link to the video “Gullwing”, below that was produced by the Lisbon-based studio Briktop. It’s a stunning piece of work that is 100 percent CG. There is a nice little storyline that demonstrates the director João Elias passion for the Mercedes-Benz 300SL Gullwing. The editing is executed so well helping to draw you into the piece. The sound design combined with the music adds a sense of completeness and drama. It just works. I have no idea what his hardware and software set up is, but I guarantee it’s an affordable desktop rig. If you want to see more of the work from Briktop you can find it here. He’s got a really nice BMW 2002 short as well as more commercial stuff.
By the way, Briktop has some mad skills. He’s been in business for about ten years and started out doing architectural visualizations. The work on the Briktop site shows just how much they have grown, and what they have been able to accomplish in just one decade. Hat tip to them.
Directed and animated by João Elias | Music: Evan Macdonald | Sound design: João Elias
This afternoon I was hanging out on Vimeo looking at a variety of things to get some inspiration for a motion graphics/video project I have in the works, and I happened to stumble upon “Grace Sunset Collection” by Not Real. It’s a really well-done advert featuring some great photography, typography, and 3D animation. What’s better there is a making-of video that shows off some of the behind-the-scenes work that went into putting this together. I always like to include the behind the scenes/making of videos if I can because it shows how much work actually goes into producing something that looks so simple. And that is where the magic is. A complex and involved project that produces a final clip that looks simple.
As you watch this, think about how the animation and edits are timed to the rhythm of the music. It goes together so well, and if you weren’t looking for it you might miss that aspect. The other thing that caught my attention is the easing that is applied to the movement of the type, images and objects. It’s subtle and very lifelike. The fall off is natural, and that is the kind of thing that takes some serious skills, whether you are doing it with After Effects expressions, or using the motion graph.
This is some really nice stuff. Now I’m inspired and its time to get to work.
Directed by: NotReal
Creative Direction: Valeria Moreiro
Executive Production: Roberto Connolly
Art Direction: Valeria Moreiro
Animation Direction: Milton Gonzalez
2D Design: Luján Borzi, Pia Alive, Valeria Moreiro
3D Design: Valeria Moreiro, Alejandra Lan, Luján Borzi
2D Animation: Milton Gonzalez, Joana Cabrera, Roberto Connolly
3D Animation: Milton Gonzalez, Joana Cabrera
Lighting & Shading: Valeria Moreiro
Rendering and Compositing: Milton Gonzalez
Making off: Roberto Connolly
Photography:Cecilia Armand Ugon
Photography Assistant: Ayelén Di Biasi
Styling: Maia Frid
Make up: Julie Doee
Models: Abril Castroman- Lo Management
Layla Ferreira- Pink Models
The Atlantic, like everyone else in 2020 has been turned on it’s head thanks to the Covid 19 Pandemic. Normally the Atlantic Festival would be an in person event that lasts for 3 days in September, but this year The Atlantic moved everything online for obvious reasons.
When you move a live event to an exclusively online event, one thing that needs to happen is a level of consistency across all of the visual components. Especially since your target audience is probably a little burned out from all the Zoom and Microsoft Teams meetings they have attended over the last 8 months.
To achieve this the Atlantic turned to ATK PLN to develop a consistent look that could be applied across all Zoom screens, the website, videos, and other support materials. If you take the look of the video above and then jump over to the website, and the YouTube channel you can see how they pulled everything together with a very simple identity system that is effective while not distracting from the onscreen content – the speakers.
I especially love the animated swooping yellow line on the webpage. It’s such a nice simple touch.