When I first watched this video on Vimeo, I was drawn in by the fantastic cinematography, and the atmosphere that is created in Alan Williams studio. The visuals hooked me but as his story, and discussion about process unfolded, I knew I was here for the full 8-minute duration. After watching it with the sound on, I muted the audio and watched it again, full screen and really looked at the way this was shot, edited, and composed. Ben Cox does a really nice job of framing his shots and using shallow depth of field to focus the viewer on specific elements within the frame. Lighting and color grading come together to really help enhance the story and create a mood that captures Alan Williams personality and the artwork he creates. This short has such a solid look, and great story hooks as well, it’s definitely going in the visual reference library for inspiration at a later date.
Here we are 4 days into 2017, and officially 3 weeks into winter. Tomorrow, we are supposed to get 4 inches of snow, and the high temps are going to maybe hit 20 degrees, which frankly has me longing for my favorite time of the year, mid-May through early July. All of this got me to thinking about the powerful thunderstorms that roll through the midwest fueled by warm moist air blowing up from the Gulf of Mexico and colliding with a cold front rolling in off of the Northern Plains. That got me to searching the internet for some video footage to warm my chilled bones and remind there are just 84 more days until spring.
My discovery this afternoon was the video below by Mike Olbinski. Shot in 4K, color graded to black and white, timed out to just under 5 minutes, it’s absolutely breathtaking. The fact that he had the idea of taking this in a new direction with a black and white post production just makes it. The soundtrack adds to the ominous power of the visuals and makes me long for the opportunity to be able to sit on the sun porch and watch this happening live. (not the tornado part, I like my house).
If you have the opportunity watch this in 4K on a larger TV. The visuals will knock your socks off. For more info on how Oblinski made it click through here.
Most people never realize just how much work goes into producing a TV commercial. For the most part what we see, if we are fast-forwarding over them, is the fifteen-second edit of the original sixty-second spot. They whiz by in a blip sandwiched between other ads that blend into a seamless stream of no one paying attention. But occasionally someone posts a video showing how things get done.
Have you ever wondered how they match the 3D animations to live action footage? Blend shots together? What the total production of a video looks like? The video below for Canal+ shows you. No it doesn’t go into any lengthy detailed VFX breakdown, but it does give you a pretty solid idea of what it took to produce the promotional spot titled “The Kitchen”.
The finished sixty second spot
How they made it.
If you happened to catch any of the Euro Cup 2016 games last week on ESPN you probably saw the handy work of Imaginary Forces who crafted the intro sequences for the games. In all it was a diverse package of more than 200 animated elements inspired by the history and artistic heritage of the host country France. Below is the finished output, as well as the making of that shows how it was done. For the final piece, leave your volume on, for the making of, I say turn it off because the background music get pretty annoying pretty fast. The making of visually however is really fascinating, showing how they captured acrylic paint smears, and hand drawn elements blending them with live action footage, stills and 3D elements. It’s a nice way to spend a few minutes on a Friday afternoon.
I’m not really a Coldplay fan, but I have to give them credit for the video below. Actually I have to give credit to directors Vania Heymann and Gal Muggia plus their crew that produced it. Coldplay just stars in it. This is a wonderful blend of vintage film, green screen work, CGI, compositing, and animation. If you love Coldplay, turn up the volume and sing along. If you don’t turn off the sound and just watch the visuals. They are pretty captivating, and engaging. In the Vimeo credits, there is a list of artists that inspired the visuals. I have pasted them below the video. Oh, and if you are curious about how many people were involved in making this, click through to Vimeo and take a look at the crew involved.
Inspired by the art of:
Victoria Siemer, Sammy Slabbinck, Karen Lynch, Sarah Eisenlohr, Joe Webb, Jeff Hendrickson, Katie Dutch, Linder Sterling, Kieron “cur3es” Cropper, Beth Hoeckel, Eugenia Loli, Mariano Peccinetti, Shang Chengxiang, Charlie Davoli, Artem Rhads Cheboha, Fran Rodriguez, Felipe Posada, Jay Riggio, Ser Sinestésico, Marina Molares, Merve Ozaslan, Julien Pacaud, Angelo Vazquez, Terry Ringler, Djuno Tomsni, John Stezaker, Richard Hamilton, Hannah Höch, and of course Rene Magritte.
The weekend is here and in my neck of the woods its going to be unseasonably cool and rainy. That means I’ll be spending plenty of time inside reading and watching videos. One that I’ll be spending ten minutes with is the video below. Tony Zhou How does an Editor Think and Feel?. Zhou has been a professional editor for ten years, and in this ten minute video he discusses things like, How do you know when to cut?” Is it instinctual? Is it experience? Is it training? So how does an editor think and feel? I’m going to find out.
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.