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Gretel's Fox College Football package is all kinds of smart
NY-based Gretel produces some of the most consistently well-designed brand work of any studio in the US. Their latest toolkit for Fox College Football is no exception.
Designing and producing toolkits is challenging work. You need to build a system of assets and production tools that allows for a wide range of messaging while still being tightly branded. Using a consistent typeface and palette…
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Truffle Pig, an other-worldly virtual reality experience from Gentleman Scholar
LA-based Gentleman Scholar have joined the growing number of animation studios seduced by the creative possibilities (and technical challenges) of virtual reality as a storytelling medium.
“Truffle Pig” is the story of a man and his pig on their daily morning expedition into a dark forest in search of truffles. Their journey is interrupted when the two suddenly find something far more intriguing…
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Buck pushes the limits of 2D for Nike Hypervenom Nike's Hypervenom line has been the subject of some fiercely sexy CG work, but these two spots from…
FAUX IMAGES XVII
Berlin: FAUX IMAGES XVII on September 1st
Faux Images XVI brings you Lilian Darmono (UK) FOREAL (TRIER) and schnellebuntebilder (BERLIN) featuring their exclusive installation M2.
FAUX IMAGES is a quarterly meeting, which provides a platform for showing and exchanging work and networking for the Berlin animation and motion design scene.
Besides the opportunity for artists to present themselves and their work, central to FAUX IMAGES is…
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San Francisco: HelloLuxx at Adobe this Wednesday Tim will be coming to San Francisco to talk about what inspires him, how he got started and how the technology has evolved over the years to where it's headed.
What is web animation? Rachel Nabors explains it all.
Web design and motion design have been on a collision course since the early 2000s. Today, they’re finally merging, spawning strange new fields — and the terminology to go with them.
One term that’s been gaining steam is “web animation.” Like “motion design,” it’s a chimera that can shift meaning according to the context in which it’s used. To understand it better, we turned to one of web…
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"Seed," a surreal trip powered by photoscanned objects
"Seed," a surreal trip through a CG world
Munich-based Aixsponza (“eks-sponza”) broke out their entire arsenal of CG weaponry for “Seed,” a surreal journey featuring everything from photoreal retro electronics to spooky, 3D-scanned humans dressed in Native American headgear.
The project also served as a showcase of the recently announced Cinema 4D R17, which Aixsponza had advanced access to. Although they used many different techniques…
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The Genius of Play
The Genius of Play, a masterclass in delightful animation
Working with Mash Studio, Tom Rainford focused his directorial talents on The Genius of Play, a 9-part animation series for for the Toy Industry Association.
Each of the 9 short films created for the campaign uses a mix of 2D and stylized 3D animation to highlight positive traits that playtime can encourage. The setup works well as a framework for chuckle-worthy gags, too.
For example, as a…
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DEmark 2015 Opening Titles
Nord Collective’s quirky titles for the DEmark 2015 titles feature a literal interpretation of the event’s theme, “Touch of Design.”
Combining a custom tailored typeface with simple illustrations, Nord crafted several clever vignettes strung together by surprising transitions and a bold three-color palette.
The custom designed typeface uses the same dashed line motif as the illustrations.
Cred…
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Ronda does "Banda Valentia" for Boomerang Latina America
This incredibly cute promo campaign from Ronda (directed by the prolific Gabriel Fermanelli) for Boomerang Latin America’s works within the network’s tight brand guidelines while still sporting inventive transitions and snappy storytelling.
The crew at Ronda answered some of our questions about the project:
What is “Banda Valentia”?
“Banda Valentia” means “Brave Club.” It’s a special segment of…
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One effect that I feel many of us can agree on when working in the commercial world is that it can be a bit of a vacuum.
The motion graphics industry tends to attract people of all different backgrounds, but after a while, it’s common to start thinking of every project as a :15, :30 or :60. This can be a tough mold to break.
With the constant flow of information and barrier of entry into the industry diminishing, we are starting to see a lot more unconventional and independent routes being taken.
In my opinion, this is a step in the right direction. It forces people to continue to grow and adapt, creates new opportunities and even changes people’s perspectives. That is what this post is about: two amazingly talented and successful individuals from the old guard breaking the mold and going out on their own to tell a story they feel is worth telling.
Jeremy Stuart and Brad Abrahams are the directors of the upcoming documentary On The Back Of A Tiger. The following is a Q&A about them, their filmmaking process, their Kickstarter campaign and everything in between.
Q&A with Jeremy Stuart and Brad Abrahams
First, can you tell us a bit about yourselves and your traditional roles in the industry?
Jeremy Stuart At the age of 10, I was being used as an “actor” in my older brother’s film school projects. So I became aware of the path pretty early.
At 17, armed with a very amateur knowledge of Photoshop, I snagged an internship in the design department at a post house. I managed to work my way up there while attending film school. I learned a ton from some very talented folks and made some great friends at that job. I stayed on after graduating for a couple years in a motion graphics position before taking my After Effects skills on the road.
Eventually, I found myself as a regular in the Digital Kitchen freelance pool. I met Brad there while doing a stint in Seattle. Then, in 2008, I took a staff position in the Chicago office. I collaborated with some amazing friends and artists while getting to do a some great work. I got my hands in everything. Pitching, design, directing, animation, compositing, grading, CD-ing.
It was often a lot of fun. I still work with those guys on occasion but have been freelance since 2012.
Brad Abrahams Unless you’re extremely wealthy, extremely lucky, or don’t mind being a PA, job prospects as a film school graduate are grim.
Thankfully, I had a knack for 3D and was hired by Helios, a small motion design shop in Toronto. It was a fun, collaborative and non-hierarchical environment, but after a few years, I realized 3D just wasn’t my thing.
Serendipitously, this misfit I started chatting with on an obscure graphics message board (Cody Cobb) landed me a Creative Director position at Digital Kitchen Seattle. I still don’t fully understand how that happened, but I’m grateful that it did. I migrated more and more towards live-action work, learning that documentary-style productions were my favorite projects.
DK gave me incredible experiences and friendships, but as the years went by, so did my enthusiasm for commercial work (and my patience for dealing with unpleasant clients). I yearned to make something more meaningful and impactful.
So I had my mid-life crisis earlier than most. I quit, spent time recuperating in the jungle, and have finally found a (mostly) happy balance of independent and paying work.
What’s the film about you’re working on now?
The film follows a group of pioneering scientists and thinkers as they rewrite the workings of life, challenging science and medicine’s most sacred cows. From breakthrough ideas on water and the workings of the cell, to radical theories of mind and brain. These ideas have already inspired an intrepid group of health-seekers who share their impressive — though unconventional — stories.
Through interviews, experiments, and animations, these ideas form an alternate model of life, one that could have a profound impact on our understanding of disease, aging and consciousness.
The topic seems very close to you both. Can you elaborate on your interest in this subject matter and why you felt this story needed to be told?
BRAD We’ve both been life-long health-seekers, having sensitive constitutions.
The inception of this project was a comment to Jeremy to check out this mysterious genius-scientist’s web site, Dr. Raymond Peat. We became increasingly fascinated by his work and writings, as well as the quirky community that surrounded them.
We started experimenting with our diets and lifestyles, inspired by his theories, and realized that, no matter how unconventional it seemed, there was a great deal of truth to it. As we dove deeper, we realized there was a whole community of scientists with profound theories that had been completely ignored by the establishment.
JEREMY We were finding all these amazing life stories and discoveries that nobody had really paved the road to yet. There was no professional video on any of these subjects or people. You had to really work to find out, unlike most subjects today which are satisfied by a quick look at Wikipedia.
So, presenting this stuff in a relevant way started to look like something that needed doing. It seemed like a place to do some good with my skills and learn a lot more about a fascinating subject.
What was the thought process like when deciding to take time off of work and fund a project like this with your own money?
Jeremy Working in the commercial world can be great. You have a chance to hone powerful skills, maybe make sexy work and probably get decently paid for it. But you don’t really own anything you make. You’re forever a vendor or consultant making and polishing other people’s ideas or products.
At some point, I started to realize that as an “artist” the most powerful thing you can have is your own intellectual property. So focusing my time, energy, and money into meaningful self-directed work looked more like an investment. Also, it sounded like a lot of fun.
BRAD For me, taking time off work happened before the idea for the film. Besides the philosophical and emotional reasons Jeremy mentioned, working full-time as a CD carried a high level of pressure. The stress and long hours were taking a toll on my health, something I think a lot of people in the field can relate to.
To get to the point we are now took us nearly a year of sporadic shoots and all of our savings. We had to take paying work, in between which we would immediately spend on the next shoot. If we didn’t launch this Kickstarter, it’s likely we’d never finish the film.
Can you describe some of the hurdles and insecurities you faced when making this decision?
Brad We were riddled with the usual anxieties when embarking on a radical endeavor: How will we fund it? Is there even an audience for it? How can we translate this story to a general audience. Will we find mainstream acceptance? Will our Kickstarter be a failure?
Jeremy And on top of all that, there’s the intimidation of tackling a feature length project.
Have there been any “ah-ha!” moments?
Jeremy Not exactly, but there have been some slow realizations.
You get used to certain patterns working from a brief and waiting for approval and permission at every step. Breaking out of that is refreshing. Starting this project, much of it was surprisingly straightforward. There was a sort of effortless nature to getting things rolling. We spent more time deciding what lenses to rent than trying to set up some of our interviews.
Brad Seeing our skills and experience come together in a meaningful way has been so rewarding. But coming from the sub two-minute world, working with all this content and shaping it into 90-100 minute story can feel daunting.
We’ve only shot about 30% and have amassed 200 hours of footage. But seeing the overwhelmingly positive response to the little we’ve shared so far gives us motivation to persevere.
Has the scope of the project changed with time or have you been able to keep it within your original expectations?
Brad That’s been one of the biggest challenges. Every day, we think of new people to interview or subjects to tackle. And new studies are constantly being published. The film was originally going to focus on Dr. Peat, but the scope has massively widened.
Jeremy Yeah, none of it is static. it’s been a discovery process throughout. We didn’t start out with very rigid idea about the final piece. I guess that can be a benefit of documentary work.
What has been the hardest part of production?
Not having any funding means doing everything ourselves.
It’s an incredible amount of work for two people, and inevitably means compromising on quality. Even with small, low-budget productions at Digital Kitchen, there was always a crew of people working together and sharing responsibilities. So this has taken some getting used to.
What has surprised you along the way?
Brad Even though we haven’t had mainstream coverage, the hunger for this film is palpable. We’ve received hundreds of emails and messages encouraging us, telling us just how important this project is. Also surprising is just how smoothly we’ve been able to secure our interviewees and shoots. Usually, it’s taken just an email or a phone call.
Jeremy The hungry supportive audience who came out to help fund us so far has been both humbling and surprising.
What roles have you been playing with making this film?
Jeremy Everything besides music. We’ve had no crew. Directing, shooting, producing, researching, and writing has all been shared. On the post side, Brad has been editing and I’ve been grading, doing titles, and some mixing.
John Black of Cypher Audio scored the trailer, and Jesse Solomon Clark scored the teasers and Kickstarter pitch video.
Do you have a producer?
Brad Actively looking! Neither of us are very producerly-minded, so the organizational, logistical, and temporal aspects have been one of the biggest challenges.
How has the experience with Kickstarter been?
Brad We’ve had no issues with the process or experience. We chose them mainly for the credibility and exposure.
A well-run campaign also functions as marketing and a way to build a community early in the process. In hindsight, we should have reached out to blogs and journalists well in advance of launching to secure some more mainstream press.
How do you see the state of the industry and the furthering of independent projects?
Jeremy I see a lot of small budget, non-traditional projects and lines blurring around people’s roles.
Big shops mostly require narrow specialists to run efficiently, and that’s fine, but there aren’t all that many of those jobs. For me, it was freeing to think more broadly about my skills. If you’re making and arranging moving images and text, that’s essentially filmmaking.
It’s probably always good to think of what you could put into the world being totally self-directed, but actually taking that responsibility, possibly forgetting about a paycheck, and making that happen is obviously a huge challenge. I found independent work rarely feasible with a full time job.
Being small, independent, and nimble looks pretty good to me right now.
What would you like people to take away from this film?
Brad The inspiration and confidence to self-educate and experiment when it comes to their own health. To be critical of the establishments. To feel hope when it seems there isn’t any.
Do you have any personal goals for this film?
Jeremy That it could legitimize the work of these scientists and cause real change in their industries.
Brad Perhaps effective treatments will eventually result for diseases that a friend or family member has, like Alzheimer’s, of which my father is diagnosed. And more selfishly, that its success could lead to a continuing career as an independent filmmaker.
What’s next for you two personally?
Brad Managing a Kickstarter is more than a full-time job. It’s taken over my life. Balancing this with commercial work has wiped me out. I’m just looking forward to some time away from a computer, preferably in the mountains somewhere. Either that or going on a psychedelic voyage with the God Helmet (invented by our interview subject Dr. Michael Persinger).
Jeremy Between this film, commercial bookings and getting married, the past year has been a whirlwind. I’m hoping to settle into a more sustainable rhythm.
What’s next for you two professionally?
Brad A crushing amount of ideas for other documentaries. Commercially, I’ve signed on with a new production company based out of Seattle, Curator Pictures. We’ve been creating some good work for Bill Gates’ BGC3, a.k.a gatesnotes. I’m looking forward to seeing this prodco grow.
Jeremy Like Brad said, there’s always more film ideas, but I’m not thinking too far ahead of this one yet. I’m looking forward to seeing where it takes me.
I’ll definitely continue to be available for freelance work. Lately, I’m having fun doing remote color grading jobs.
Finally, how can people get involved and help?
If the subject of the film is resonating with you, please check out and share our Kickstarter campaign: http://bit.ly/tigerdoc
We also have a production blog, Facebook page and recently-launched Twitter account.
Jeremy and Brad’s Kickstarter campaign has already reached its funding. If this is a topic that interests you or you just want to support fellow artists I highly recommend checking out the links above, throwing them some money and helping to support a truly independent project. The more money they raise directly results in a higher quality final product. This not only helps spread an important message but also strengthens our community and all future independent projects any one of us decides to take on in the future!
On The Back Of A Tiger One effect that I feel many of us can agree on when working in the commercial world is that it can be a bit of a vacuum.
Blend Manifesto by Claudio Salas
Blend Manifesto by Claudio Salas
From the candy coated palette to its cheery metaphors of rainbows and confetti, the manifesto video for the upcoming Blend conference is bubbling over with the earnest optimism of its creators.
Crafted by a super team of designers and animators (including Blend mastermind Jorge Canedo Estrada), the video is a fitting teaser of Blend speakers.
(By the way, I’ll be giving a talk at Blend…
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Motionographer App for iOS
Motionographer app for iOS
For all you native app lovers, we’ve quietly launched a dedicated Motionographer app for iOS.
Get it from iTunes (for free, of course) for iPhone and iPad.
Screens from the Motionographer app for iOS
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The Moth Collective: Modern Love
The Moth Collective: Modern Love
At this point anyone who follows my posts will think I sound like a broken record, but… The Moth Collective does it again! This time for The New York Times and their Modern Love column.
The Moths are no stranger to great work, this being their third stunning long-format animation in 2015 alone. If you haven’t seen them yet, make sure to watch Hias and Planet Under Pressure.
The Moth Collective is…
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Motion plus design
Paris Event: Motion plus design
Pour la première fois en France, Motion Plus Design invite 8 des plus grands noms du Motion Design international à Paris!
INVITÉS :
GUEST #1 : JR. CANEST (BOLIVIA) GUEST #2 : CLIM (SPAIN) GUEST #3 : MARCUS ECKERT (GERMANY) GUEST #4 : MARCO BAGNI (ITALY) GUEST #5 : MATT GREENWOOD (CANADA) GUEST #6 : ANNONCE LE 03/08 GUEST #7 : ANNONCE LE 10/08 GUEST #8 : ANNONCE LE 17/08
TARIFS :
TARIF PLEIN : 25€
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Anh Vu launches a new website
Anh Vu launches a new website
Anh Vu launches a new website.
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