It’s Monday March 16, 2020 and the world is in shutdown mode over the Coronavirus outbreak/pandemic. The stock market is losing ground again, people are hoarding supplies like the world is ending, schools are closed, businesses are having employees telecommute rather than come in to work and a slight sense of general pandemonium has settled over my part of the midwest.
Here is a way to hopefully help you forget all about what is going on in between washing your hands, coughing into your elbow, keeping your distance and doing all the other things the WHO wants you to do to stop the spread of COVID 19.
“Not To Scale” and “Iris” have collaborated to produce a beautiful series of eye-catching short animations for the Wacom Cintiq 16. The films imaginatively illustrate the typical journey and endeavors that an Artist takes through their career to realize their creative ambitions.
There are 6 in all and I have the behind the scenes/making-of video at the end. So, do yourself a favor and take a bit of time to escape the pandemic news and watch this series of short animations. You’ll be glad you did.
I’ve been a season ticket holder to the Kansas City Symphony for ages, and I’m pretty familiar with their marketing materials. I know they don’t have the same budget as the London Symphony Orchestra, but they should watch this video and take notes.
Wowza talk about a stunner.
London agency Superunion and motion studio Found combine dance, pyrotechnics, and mo-cap to create a spectacular campaign for the London Symphony Orchestra’s 2020/21 season.
“In his fourth year with the LSO, Sir Simon Rattle leads a two-year exploration of music written in the first half of the 20th century. The title refers to a phrase used to describe the febrile atmosphere in Germany in the 1930s, as Europe lay on the cusp of profound social, cultural and political upheaval.
With such an emotive theme, Superunion wanted to create something unexpected, something that would reflect the tension and volatility of the new season.
This meant shifting away from the CG approach of previous campaigns and embracing practical live-action effects to create a dramatic, explosive and tension-fuelled abstract film.
Conceived for both film and print, the resolution was of huge importance. We opted to shoot on the RED Helium camera at 5K so as to capture as much detail as possible.
Filmed against black, from a dramatic top shot, we worked with dancer Ella Robson Guilfoyle, to interpret the motion capture data of Sir Simon Rattle’s baton into an expressive dance sequence.
Costume designer Karen Avenell was commissioned to create a custom-made silk dress to further accentuate Ella’s movements.
The sequence would have been impossible to perform in real-time, so we broke it down into 19 individual bite-size movements. These were then edited together in post-production and re-timed to precisely match the motion capture data.
This ‘base’ layer of fabric was then processed with a bespoke echo trail, to create a fiery flame-like effect.
In addition, we filmed an array of pyrotechnics and practical effects [sparklers, flares, smoke grenades, and chalk dust] at high speed which were later composited into the sequence to enhance the volcano effect, culminating in an epic final shot.”
Mike Sharpe, Creative Director at Found Studio
This so nice. I’m mining the internet to find any related marketing and advertising materials. If I track them down, I’ll updated this post with them. I have to say, I’m not sure how any of them could compete with the drama created by the choreography and music presented in the video.
The next step for the London Symphony Orchestra, is to replace that hideous logo with something as grand as this video. That however is a topic for another time.
Four things I like. Good Design, auto racing, animation/motion graphics, and high-quality video production. When these elements combine into something that epically leverages all of them it’s hard to contain myself.
I love this video. I’m not sure who the production company was behind it, or if Honda did this in house but the end result is spectacular. The video showcases Honda’s involvement in Formula One racing opening with racing legend Richie Ginther at the wheel of the Honda RA272, which won Honda’s first F1 race at the 1965 Mexican Grand Prix. The car then morphs into Ayrton Senna’s iconic MP4/4 from 1988 making its way around the narrow corners of the Monaco Grand Prix. Then the animation jumps all the way to 2006 when JensonButton won the Hungarian Grand Prix at the wheel of Honda’s own F1 car and team. From there we cut to Max Verstappen and his heroic win at the 2019 Austrian Grand Prix, and then again at the German Grand Prix.
The piece is interlaced with live-action footage from the races, highly stylized animation, nice use of typography, all built on a limited color pallet of red, black, yellow, blue and white. The style of the animation has a nice graphic novel look, that is matched perfectly to the driving music and soundtrack of engine sounds, crowd, and announcer overlays that help pull the whole thing together. The small details like the speed lines that emanate from the bold titles and the insertion of the Japanese text is a really nice visual design touch that is carried throughout the entire video.
Well done Honda. This is one of the better promotional pieces I’ve seen for Formula One. I’m not sure where this is going to run but I have a feeling during broadcast F1 races. It has a run length of 60 seconds and could be edited down to a 30, or even a 15-second spot if needed.
The high production value on this is sure to pay off. So a solid spot.
One of my regular podcast listens is On Being and I have been listening quite a bit more in the last 6 months for a number of reasons I’m not going to go into here. If you have some free time give it a listen, I guarantee it’ll be worth your time.
Recently Giant Ant, one of my favorite motion graphics/video/design firms was given the opportunity to put together a short animated piece for On Being and results are wonderful.
Giant Ant was given a wide open brief to work with so they had plenty of room to explore and take some risks. What they produced is a 44 second animated short that moves from illustrative to abstract and back again balanced against O’Donohue’s narration. It’s really quite lovely and frankly, I’d love to see something like this done for the entire length of the podcast. (I know time and money…)
It’s Friday, watch something cool and learn while you are at it. I have to admit I had watch this a few times to get all the information because I kept looking at Felipe Vargas animation and illustrations and not paying attention to all of the text on screen. The video below was commissioned by The World Economic Forum to highlight the top 10 emerging technologies. Vargas, and Pablo Gonzalez directed the short which features illustration work by Vargas who was also the primary animator, along with small but very talented animation support team. It’s a great little short with a look that really reminds me of Charlie Harper ( not the character from Two and a Half Men ).
“A diverse range of breakthrough technologies, including batteries capable of providing power to whole villages, “socially aware” artificial intelligence and new generation solar panels, could soon be playing a role in tackling the world’s most pressing challenges. The World Economic Forum requested a short Animation conveying this important message. A short deadline demanded simple, but attractive animations and graphics that could tell the story without a voiceover.” __ Directed by Pablo Gonzalez and Felipe Vargas at SMOG Creative Direction by Pablo Gonzalez at SMOG Design and Illustrations by Felipe Vargas. Animation direction by Felipe Vargas. Animations by: Felipe Vargas, Patricio Molina, Berni Bruner, Spiro Bunster and Francisco Castro.
The video below took a year to complete. Hyperrealistic statuettes of wrestling talent were hand sculpted in Maya and later shaded to look like marble. if you count the number of figures and then combine it with the environment they are placed in you’ll understand why. This is an enormous project for any team to tackle, but the end result is one solid promotion for Royal Rumble.
The Royal Rumble spot is a reimagined and rebranded rethink, conceptualized from the ground up to showcase one of the big four events that WWE produces throughout the year. It is a retelling of the storied past and grand moments from events past and those yet to be written. Perfectly paced, with a solid script and voice over the visuals hook you and pull you into the spot.
“Labored on over the course of a year, hyperrealistic statuettes of wrestling talent were hand sculpted and then later shaded to look like marble in Maya. An enormous and detailed tableau provides the backdrop for the reimagining, referencing structures from ancient kings on the left and progressing to more modern structures that nod towards the robber barons of the industrial revolution. A leitmotif of ornamental detailing weaves itself throughout the piece creating a cohesion that culminates with the apex, a ring that all the competitors aspire to conquer.”
VP Production & Graphics | Chris Siciliano
Senior Managing Director | Kevin Callahan
Art Director | Jacques Broquard
Set Supervisor & Designer | Gib Patterson
Modeler | Jeff Lee
Lead Character Sculptor | Hossein Diba
Character Sculptor | Ebrahim Diba
Character Sculptor | Daniel Peteuil
Character Supervisor | Sean Thorpe
Animation TD | Matthew Thurber
Character Animator | Cilian Tung
Motion Graphics Animator | David Durand
Rigger | Hayden McGowan
Lighting TD | Matthew Gleason
Lighter & Compositor | Paul Wei
Lighter & Compositor | Jason Garrison
In the world of film production and CG effects, there is a separate world of motion designers that craft user interfaces for on screen displays. They are a unique group of individuals that craft high-tech, or LoFi looks for the film industry from scratch. What they uild has to be unique, creative, convincing, and blend with the overall look and feel of the film. In many ways, these teams are creating another character for the actors to interact with. When it’s done right, it can be absolutely mesmerizing. This work is complex, involved, highly detailed, and time consuming to produce.
For Guardians of the Galaxy, Territory Studios produced a multitude of screens for the entire movie. They developed everything from dancing particle systems, to unique type faces that are used in the on-screen displays. Below is a sampling of some of the unique UI systems they created, along with a show reel of the total. The link above takes you to Territories site, where there are a number of still frames that really highlight the quality of the work they did for this movie.