When the iPhone came out back in 2007, the idea of using it as part of a 3D printer would have probably been laughed at. Roll the clock forward 9 years and it’s pretty amazing just how far technology has come. I have had an email sitting in my in box for over a week for OLO, and had yet to open it. Today over lunch I decided to see what OLO was about and I have to admit, I’m pretty impressed. Apparently others are too, because these guys are way past their goal on Kickstarter. The video below shows how it works, so I’m not going to go into any deep details, but basically it uses the light from your phone and special polymers to print an object. The retail price is 99 bucks so it makes it a mass market item, and the fact that it works with iOS, Android, and Windows Phone makes it pretty universal. I could see myself using this on a regular basis, and I can see a huge market for prebuilt 3D models emerging specifically for this printer.
First a disclaimer. I have not seen the movie Deadpool and probably won’t. That doesn’t mean that I can’t be impressed with the VFX in the film. Take a look at the VFX breakdown below and you’ll understand why. There is so much computer graphics, and post work going on that it makes you ask, is this a live action movie, or an animation featuring some live characters in the scenes? The movie might have been bad (this is what my friends have told me so don’t get mad at me), but the VFX are pretty damn spectacular.
“Deadpool” marks the beginning of a new era for superhero films, and one sequence in particular was key to setting the tone. This is an in-depth VFX breakdown reel showcasing the behind-the-scenes efforts by the Atomic Fiction team. The work involved creating computer generated characters, vehicles, and an entire urban environment, for the thrilling car chase that kicks off this new franchise!
Special thanks to Tim Miller, Jonathan Rothbart, our friends at Blur, and 20th Century Fox for the opportunity to contribute to these sequences.
Music Credit: Deadpool (Original Motion Picture Soundtrack)
© 2016 Twentieth Century Fox Film Corporation. All rights reserved.
X-Men Characters and Likenesses TM & © 2016 Marvel Characters, Inc. All rights reserved.
The two-minute short for wildlifeaid.org.uk is about the declining population of hedgehogs in Great Britain. While the demise of the beloved hedgehog is concerning to me, especially since they have dropped from 30 million to 1 million since 1950, I really want to talk about the wonderful animation quality of the video. Directed by Kris Hofmann with Illustrations by Sandra Dieckmann, the animation is a really nice blend of 2D and 3D techniques that creates a really unique and memorable look for the short. Being memorable is exactly what a PSA needs to do, and Wildlife Aid with the talented crew they hired to produce this have done just that.
I’m not a fan of McDonalds food, but you have to hand it to their advertising. It’s usually top notch, and they do hire the best. McDonalds AOR Leo Burnett hired BUCK to produce the new animated TV spot for the McCafe line of hot drinks. Directed by Ryan Honey BUCK blends 2D and 3D animation seamlessly in the 30 second spot titled “Heart Winter”. The spot features nicely stylized, but not overly cute character’s clever transitions between scenes, and a fluid animation style all set to a jangly happy tune. It’s hard not to like the look of the commercial, even if you aren’t a fan of McDonalds.
Executive Creative Director: Ryan Honey
Executive Producer: Maurie Enochson
Associate Creative Directors: Jenny Ko, Steve Day
CG Supervisor: Doug Wilkinson
Producer: Billy Mack
Production Coordinator: Kaitlyn Mahoney
Storyboards: Morgan Schweitzer, Vincent Lee, Marcus Park, Susan Yung
Design: Jenny Ko, Yuki Yamada, Susan Yung, Gunnar Pettersson, Ken Gunn Lee, Joe Mullen
Cel Animation: Kendra Ryan, Kyle Mowat, Eric Cheng, Laura Yilmaz, Craig Yamamoto, Ben Conkin, Song Kim
AE Animation & Compositing: Nick Petley, Simon Ekstrand Appel, Anthony Madlangbayan, Zach Eastburg, Esteban Esquivo, Jake Portman, Ariel Costa
3D Artists: Wing Lee, Florent Raffray
Talk about a great look. This 13 minute film from jonas odell has it. There is really solid blend of 2D, and 3D animation with live action footage, animated stills, and graphics. The film is in Swedish, but it is subtitled so you can follow along with the story. I have to say I ended up watching it a couple of times, and I found myself pausing the second time around to actually read the subtitles. On the first pass it was just to easy to get lost in the look of “Tussilago”. In the post before this I talked about the kind of crew you sometimes need to get a short film produced. The credit list to this is below the film, and it is a perfect example of how complex making even a short film can be.
Directed by Jonas Odell
Produced by Linda Hambäck & Niklas Adolfsson
Interviews by Richard Dinter
Director of Photography Per Helin
Music Martin Landquist
Sound design Fredrik Jonsäter
Production manager Malin Marmgren
Hair and make up Rebecka Rissanen
Animation Per Helin
Produced by Filmtecknarna F. Animation AB in coproduction with Film i Väst and Sveriges Television AB, with support from the Swedish Film Institute, Andra Lasmanis and Nordic Film and TV fund.
PARAFUSO A+ has created the opening sequence for the GP Brazil 2013 race. The animated short captures the magic of a little boy’s imagination as he plays with his toy cars. As they race around the toy speedway, the cars transform through each major iteration of Formula One car design. This opening sequence features really nice 3D animation combined with virtual camera work and post production that helps sell the excitement of Formula One racing. Great Stuff.
It really is a great time to be a visual designer. Thanks to advances in computer technology an software, we are experiencing a true renaissance in visual design. The four indents below for CCTV’s Documentary Channel are a great example of what I am talking about. This kind of visualization would have been almost impossible to get a decade ago. Lithuanian based Korb, working with Taiwan based JL Design took three months to create these spots, each of which is only 10 to 1 seconds long. Mo-cap was done on site in Taipei by Korb, with the final VFX work was done in Vilnius.
“Motion sculptures for CCTV Documentary Channel is a digital metaphor of phenomenal blinks and moments that life consists of. In four Idents we follow a visual performance of organic and vital substance, animated using data of actors movements.
Dents visualize four different themes. Motion sculpture of steel reflects old Chinese adage that true power is mastering yourself. Youthful energy of dancers evolve into beautiful organic sculpture. Colorful happiness is the engine of father’s and his daughter’s joy. Two lovers visualize fragility and vitality of love in the last Ident.”
Creative Director: JL
Agency: JL DESIGN
Executive producer: Angela Moo
Project Manager: Jennifer Lin
Art Director: Lance Wei
VFX / Design Company: KORB
Concept Development: JL Design & KORB
Executive Producer: Lina Paskeviciute
Animation Director: Rimantas Lukavicius
Technical Director: Giedrius Paulauskas
3D/2D Artists: Giedrius Paulauskas, Rimantas Lukavicius, Karolina Sereikaite, Tomas Juchnevic, Justinas Vinevicius
Music / Sound design: John Black, Cypheraudio