It’s Friday. We’re all working from home and starting to get Covid-19 cabin fever. The stress level is building because we aren’t supposed to leave the house. You can’t touch your face or other people. Everyone is paranoid society is going to break down and the world will end.
Well, I’m here to help you take your mind off of all of that with a tasty little animated short by PODENCO.
This has such a great look and the animation is so solid. It’s a nice blend of illustration and classic photos of Art Blakey. Take a minute out of your day, turn up the volume, and enjoy the show.
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.
Ed Ruscha has always been one of my favorite artists. When I was in Art School at the University of Kansas he had a heavy influence on the work I was producing at the time. Not so much his photography, but definitely his paintings and print works. The video above was Commissioned by The Getty Museum on the occasion of their 2019 Getty Medal to the painter, draftsman, photographer, and bookmaker, Ed Ruscha.
Produced by Matthew Miller the Getty Research Institute’s preservation and digitization of over a million images from Ed’s Streets of Los Angeles photo series. Miller then had Ruscha record a voice over for the piece using excerpts from Jack Kerouac’s “On The Road”.
I think this is a wonderful way to experience Ruscha’s photography of Los Angeles in a new way. If you are unfamiliar with Ruscha’s books I recommend checking them out. If you Google “Ed Ruscha Books”, you’ll be able to find them. Start with “26 Gas Stations”, or “Some Los Angeles Apartments”. They’ll give you a solid insight into where Ruscha’s head was in the early to mid-1960s.
I’m probably going to be the odd man out here, but I’m not a fan of Chick-Fil-A. Not for politically correct reasons. I simply don’t like their fast food. Now, with that said it doesn’t mean the don’t have some great advertising. Marie Hyon, of Psyop has pulled out all the stops in her latest work for the chicken chain crafting “The Time Shop” which extends the message of “Together Time” that McCann put together for Chick-Fil-A this holiday season.
This is such a great example of excellent copy/script writing, high production value animation, and a well thought out concept being brought to fruition for the holiday season. The video below is the full two minute online version of the piece. I haven’t seen the 60, 30, and 15 edits. It’ll be interesting to see how they maintain the storyline through the broadcast versions, especially the 15 second cut.
Director: Marie Hyon Executive Producer: Justin Booth-Clibborn Senior Producer: Suzie Cimato Assistant Producer: Simone Miller Designer: Victorior Wanchana Intrasombat, Pedro Lavin, Samantha Ballardini, Felipe Hansen, Robin Joseph, Andrew Serkin, Dionisius Bangun, Marie Hyon Storyboard Artist: Ben Chan Lead Technical Director: Briana Franceschini Previz Artist: Pat Porter, Nick Dubois, Doug Litos, Modeler: Eric Cunha, David Soto,Anne Yang, Ieva Callender, Briana Franceschini, Brian Kim, Chris Santoianni, Pedro Conti, Kevin Ferrara, Ryan Kirkwood, Casey Reuter, Krista Albert Additional Modeling: Aldrich Torres, Nitesh Nagda, Leonstudio, Basilic Fly Look Dev/Lighter: Ieva Callender, Briana Franceschini, Matthias Bauerle, Eric Cunha, Brian Kim, Thao Dan Nguyen Phan, Anne Yang, Kwan Au, Susie Hong Lead Animator: Pat Porter 3D Animator: Nick Dubois, Doug Litos Lead Rigger: Zed Bennett Rigger: Ohad Bracha, Daishi Takishima Groom FX: Eric Cunha, Ieva Callender, Briana Franceschini, Chris Santoianni VFX: Eban Byrne Cloth/Hair Sim: Jordan Harvey, Scott Hubbard, Daishi Takishima 2D Lead: Matthias Bauerle Compositor: Aaron Baker, Matthias Bauerle, Herculano Fernandes, Manu Gaulot, Lane Jolly, Tingting Li, Carl Mok Compositor Assistant: Keigo Tanaka Matte Painter: Felipe Hansen, Pedro Lavin, Marie Hyon Editor: Loren Christiansen
I was out on Vimeo checking out the latest work by Eoin Duffy for TedEd and decided to share this animation for a couple of reasons. First, the quality of the work is just outstanding. The quality of the animation and illustration is really well done. The sound design enhances the mood and works so well with the visual style of the piece, and the writing/narration leads the viewer through the story so well.
The subject matter is one of those great “wrap your noodle around these concepts”. What if everything you think is real is just a giant simulation that some supreme set of beings is controlling? What if its all fake and were just too complacent to realize this? Take a few minutes to watch the video and then spend the rest of your day contemplating all of this.
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.
There is plenty of political implications in the video below, but that isn’t why I’m posting it. The animation is really really nice, and when coupled to the voice over it becomes an engaging piece that draws you in and holds your attention for three and a half minutes.
Produced for the Atlantic this team of designers, animators, illustrators, and writers have crafted an informative short that addresses an issue that is going to become more problematic in the near future. The use of Deepfake technology.
I watched this first with the sound on, taking in the entirety of the messaging. Then I hit the mute button and watched it again. There is a great rhythm to the piece. Sections flow together and create nice visual layouts. The sparse color pallet adds to the drama and focuses your attention.
I don’t care what your political stance is, or which side you choose to vote for or why. This technology will have some crazy implications for things beyond elections in the near future. Oh, and be forewarned. If you google Deepfakes to see examples of how this is being used, there are a ton of adult videos that will show up.
“We are crossing over into an era where we have to be skeptical of what we see on video,” says John Villasenor, a senior fellow at the Brookings Institution. Villasenor is talking about deepfakes—videos that are digitally manipulated in imperceptible ways, often using a machine-learning technique that superimposes existing images or audio onto source material. The technology’s verisimilitude is alarming, Villasenor argues because it undermines our perception of truth and could have disastrous consequences for the upcoming U.S. presidential election.I’do think deepfakes are going to be a feature of the 2020 elections in some way,” Villasenor says. “And their shadow will be long.”
A full credits list is at the end of the animated short if you are interested in the team that put this together.