ShowBusinessMan [Search results for 3D animation

  • Motion Graphics Studio leftchannel Breathes Optimism into PSA for Natural Resources Defense Council

    Motion Graphics Studio leftchannel Breathes Optimism into PSA for Natural Resources Defense Council

    Looking to shed light on the disastrous effects plastics are having on the world’s oceans, the international environmental advocacy non-profit group Natural Resources Defense Council (NRDC) turned to leftchannel – the motion design studio led by Executive Creative Director and President Alberto Scirocco. Leftchannel was challenged to craft an entertaining yet informative public service announcement that would be a call to action for viewers to “reduce, reuse and recycle” plastic packaging.
    “The skills leftchannel brought to this project are valuable for translating a complex issue like this, to visually show this system and how we can make positive changes,” Leila Monroe, a Staff Attorney with the NDRC Oceans Program, says.
    After the organization approached leftchannel to translate the complex issue of plastic pollution to a visual platform with a positive message, Scirocco and leftchannel’s creative team (which included designer/animators Taehee Lee and Nick Schoener) set to creating a concept and script that avoided the usually negative tone found in most environmental PSAs. Rather, they harnessed the studio’s abilities to marry 2D and 3D character animation with motion design to inform viewers in a positive way.
    “Our goal was to remind people how important this issue is, without giving the impression that they were being criticized or that we were trying to scare them,” Scirocco says. “Americans have been recycling plastics for a long time, but the current recycling programs aren’t working anymore and NDRC wanted a new approach – one that informs and entertains in a constructive manner.”
    That new approach can be seen in the PSA entitled “The Great Plastic Purge” — a two-minute animated piece that was inspired by after school specials from the 1950s. The character animation style keeps the tone light, which helps engage the audience, while expressing important facts in a way that is never boring.
    The PSA opens with a shot of a young boy happily ripping open a birthday present that’s wrapped in numerous layers of plastic, all of which he cheerfully throws away. From there the piece follows the packaging from the boy’s home to the ocean floor, while a chipper voiceover informs about how Americans waste $8 billion a year due to plastics making it into the nation’s waterways.

    This project presented several challenges. According to Schoener, from a story telling perspective, effectively illustrating why the system was broken was challenging. “We had to first understand it ourselves,” he says, “then communicate it in a way viewers could easily connect with and understand.”
    For Lee, the most challenging scene to animate was the underwater scene. “It was complex because it contained a lot of different 2D animated trash objects that all needed to be integrated carefully into the scene. Because the scene connects to a 3D scene afterwards, the integration of the two was tricky — both 2D and 3D had to look consistent,” Lee says.
    Scirocco says, “It was a challenge to take a bleak story and turn it into an optimistic one. Overall, the animation needed to address three main points in a memorable, engaging manner: bring awareness to the issue; suggest that manufacturers be held responsible for coming up with innovative packaging solutions; and get consumers to take action to reduce, reuse and recycle.”
    Creative Credits:
    Client: Natural Resources Defense Council — www.nrdc.org/oceans/plastic-ocean
    Project: “The Great Plastic Purge” (2 minute PSA)
    Agency: Natural Resources Defense Council, New York (client direct)
    Animation/Design/Post: leftchannel, Columbus, OH — www.leftchannel.com
    Executive Creative Director/President: Alberto Scirocco
    Designers/Animators: Taehee Lee, Nick Schoener

  • A CG Journey with Trek Bicycles by Poetica

     A CG Journey with Trek Bicycles by Poetica

    As if borne of a dream, Poetica’s beautifully monochromatic spec film for Trek Bicycles bares the distinct look and feel of a surreal mindscape. The piece, conceptualized by Poetica Creative Director Steve Tozzi and brought to life with the help of CG Director, Lead Animator John Clausing and Senior Flame Artist Aaron Vasquez, is an expressive 3D ode to the rider’s unique connection to the Trek brand.

    The film revolves around a cyclist traveling through a menagerie of hyper-stylized landscapes, each populated with phantasmagorical cranes, flowers, and more, made up of bicycle parts. However, it also functions as a case study on the capabilities of Softimage, and Arnold, a powerful new 3D CG-rendering program. Poetica rendered some 200-plus passes of CG to bring the stunning images to life with a quick turnaround. Additionally, programs such as Exocortex, Slipstream, and ICE were employed to give the VFX a singularly natural and organic look.

    Poetica used Arnold, a powerful new 3D CGI-rendering program, rendering some 200-plus passes of CG, as well as Exocortex, Slipstream, and ICE.

    “We wanted this film to be a something of a vision, but to also turn it into something that moves and lives,” said Tozzi. “We used the bicycle as a toolkit to build other things while relying on the refined look of the elements and this real sense of light throughout. It’s really pushing the limits of 3D design.”

    The film was developed as an identity piece for the venerable bicycle company, originally founded in 1976. Poetica took the piece as an opportunity to deliver a unique vision of an already well-known worldwide brand using the most cutting-edge CG software and platforms available. Rising to the challenge, Poetica utilized the Trek project as a way to showcase their 3D capabilities and award-winning VFX talent.

    This is spec work, see the video at TrustCollective.
    Credits:
    Client: Trek
    Spot Title: Trek
    Production/Post-production: Poetica
    CD: Steve Tozzi
    CG Director and Lead Animation: John Clausing
    MD: Rachelle Madden
    Animator(s): Young Park, Kirt Critoph
    Compositor: Rosalie Garlow
    Senior Flame Artist: Aaron Vasquez
    ICE Generation/Animator: Matt Semel
    Head of Production: Stefanie Bassett
    Music by Colors in the Air
    Song Title: “Social Race” from Surfacing EP — Copyright 2013

  • Chevy Sonic 3-D Interactive Projection Billboard

    Chevy Sonic 3-D Interactive Projection Billboard

    The world's largest 3-D interactive projection billboard was created to promote the Chevy Sonic on the Roosevelt Hotel in Las Vegas.

    Hollywood Boulevard was taken over last week, where they re-created the giant-sized, 3D version of the old-school claw game in front of the famous Roosevelt Hotel. Passers-by were given a chance to use a human-sized joystick to direct the claw which was projected onto the side of a building and had a chance to win an array of prizes including a $4,000 vacation, a Burton snowboard, and one for lucky person, a 2012 Chevy Sonic.

    The project was the work of Goodby Silverstein & Partners and Pearl Media. "With Pearl's innovative approach to experiential advertising and Sonic's willingness to try 'firsts,' we at Chevy wanted to take the partnership into groundbreaking territory. So we added the real-time experiential claw-game piece," said Kevin Mayer, Chevrolet's director-advertising and sales promotion. "Sonic is up for any challenge, and Pearl's Claw Game pushed the Sonic into a new gaming realm that combined old-school fun with cutting-edge technology."

    The famous Roosevelt Hotel is no stranger to being used for 3-D projections, Lexus put a twist on traditional Earth Day activities when it brought Earth Night to Hollywood as part of the launch of the all new CT 200h. Lexus transformed The Roosevelt Hotel with a 3D projection featuring architectural light mapping technology. Using state-of-the-art projection, lighting, shadows and 3D animation, the imagery popped from the walls and windows of the hotel to animate the landmark.

    Pearl also did one for the release of the X-Men film on the Roosevelt.

  • Coors Light Gets Habs Fans Into The Action

    Coors Light Gets Habs Fans Into The Action

    The Montreal Canadiens, the most celebrated team in hockey history, has one of the most passionate and diehard followings in the NHL. So during this year’s Stanley Cup run, Coors Light teamed up with MEC Canada and DraftFCB Montreal to create an interactive outdoor experience called "L’action sur la glace” or “The Action’s On The Ice”, bringing the fans even closer to the action.

    Outside of Montreal’s Bell Centre, the home of the Habs, Thinkingbox digital production company built a custom 240 square foot ‘shooter’ platform where fans were able to take their best and hardest “slap shot”. Each time, the strength and speed of the shot would trigger a specific 3D animation that appeared on a 45’ HD LED video wall. For example, if the puck was hit hard enough to score a goal, an animation showing the ice shattering as well as a 3D modeled representation of Bell Centre and the Montreal Canadiens’ locker room would appear. Everything was done to recreate and simulate the experience of scoring a goal for the average fan.

    The activation included a custom iPad application that controlled the flow of the event. It was synced with social sharing technologies so players could publish their experience on their respective networks. The platform included a puck track containing IR sensors and micro-controllers that converted fans’ shots from microseconds to km/h.

    Credits:
    Project: "L’action sur la glace” — “The Action’s On The Ice”
    Client: Molson
    Brand: Coors Light
    Marketing Manager: Sonia Palazzo
    Senior Marketing Manager: Véronique Simard

    Creative Agency: Draftfcb Montréal
    Digital Production Company: Thinkingbox
    Media Company: MEC

  • Tag Heuer "The Frog — Everything Can Change in 1/1000th Of A Second"

    Tag Heuer "The Frog — Everything Can Change in 1/1000th Of A Second"

    This is some really awesome 3D animation work for Tag Heuer, "the frog". Thanks to Stash Media for discovering the spot and tracking down Mécanique Générale, (the Paris based 3D print and animation film production company) who created the Tag Heuer spot.
    Loving the tagline too....Everything can change in 1/1000th of a second.

    Credits:
    Production Co: Mécanique Générale, Paris.

  • Absolutely Hilariously Awesome 3D Animated Ad From Gillette Brasil — UFSweat

    Absolutely Hilariously Awesome 3D Animated Ad From Gillette Brasil — UFSweat

    To promote its sponsorship of the UFC, Gillette Deodorant Brazil launched the "UFSweat: The League of Heavy Smells". The campaign, all made in 3D animation, created an alternative and fictional MMA League with renegade athletes who struggle against smelly armpits. The big prize is a Gillette Deodorant, which eliminates the bad smell and brings the winner back to the UFC.

    UFCecê — A Liga dos Cheiros Pesados
    Antitranspirantes Gillette orgulhosamente elimina o UFCecê, a Liga dos Cheiros Pesados.
    Os lutadores mais fedidos da atualidade vão travar combates de perder o fôlego. O vencedor leva o Antitranspirante Gillette, que elimina o mau cheiro de verdade, não mascara.

    Credits:
    Advertising Agency: Africa Agency, São Paulo, Brazil
    Creative Directors: Sergio Gordilho, Eco Moliterno, Alexandre Prado
    Art Directors: Alexandre Prado, Bruno Couto, Alvin Shiguefuzi, Fernando Drudi
    Copywriters: André Pinheiro, Eco Moliterno
    Illustrator: Techno Image
    Photographer: Techno Image / Meindbender
    Agency Producers: Rodrigo Ferrari, Patricia Gaglioni, Anderson Rocha
    Account Directors: Marcio Santoro, Cecilia Duarte
    Account Managers: Manuela Ramalho, Marina Damato
    Planners: Ana Paula Cortat, Marcia Neri Rosenberg, Marcos Blinder
    Media Managers: Luiz Fernando Vieira, Felipe Santos, Rodrigo Medeiros, Kaline Lessio, Thiago Aimi
    Production Company: Techno Image / Meindbender
    Direção: Pedro Conti, Tiago Hoisel, Derek Henriques
    Executive Production: Guilherme Proença, Michael Bengtsson
    Production Manager: Guilherme Proença
    Photographers: Pedro Conti, Tiago Hoisel
    Post-production: Tiago Hoisel, Pedro Conti
    Editors: Pedro Conti, Tiago Hoisel, Derek Henriques
    Music & Sound Production: Sustain

  • Nike Tech Fleece: Inside the Innovation

    Nike Tech Fleece: Inside the Innovation

    The latest work from Nike Sportswear and long-time collaborator Royale, a digital design company with offices in Los Angeles and Seattle:

    Royale’s incredibly detailed CG animation takes us on a fantastic voyage of the design and execution process of a hoodie, from threads being woven on a high-tech, circular-knit loom to its perfect fit on a person’s body. Nike Tech Fleece is a unique thermal fabrication that merges a smooth jersey with a synthetic spacer to create “Warmth Without Weight.”

    “Nike wanted a piece that shows how an equal amount of technology goes into building its street wear as does its footwear,” said Brien Holman, ECD/Partner at Royale. “The actual process of creating such a lightweight fleece is what we wanted to focus on. We built a CG loom that would realistically spool hundreds of thousands of threads into one piece of fabric. The Tech Fleece Hoodie is constructed within this loom, giving extra attention to the elements that make it unique.”

    The spot is running online at sites such as YouTube and throughout Nike’s media channels, which include its retail store screens, outdoor media and Nike.com.

    Royale’s effort supports the launch of the Nike Tech Pack: Tech Fleece debut Fall/Holiday 2013 Collection, which is now available at Nike Sportswear retailers and Nike.com. Tech Fleece evolves the fit, feel and function of Nike’s most iconic sportswear silhouettes—such as hoodies, crewnecks and zip-up sweaters—to the fabric.

    Production Credits:
    Production: Royale
    Director / Partner: Brien Holman
    Executive Creative Director / Partner: Jayson Whitmore
    Managing Director / Partner: Jennifer Lucero
    Executive Producer: Chris Volckmann
    Art Director: Jonathan Kim
    Designers: Jonathan Kim, Jen Olive Lee, Juliet Park, David Viau, and Patrick Clarke
    Previs Artist: Blake Beynon
    CG Supervisor / VFX Lead: Andy Moorer
    Technical Director: Steve Caron
    3D Modeling: Juan Carlos Cuadra, Erick Schiele, Adam Rosenzweig
    3D Environment: Brian Broussard, Craig Christian
    3D Animators: James Lane, Aldrich Torres, Matt Guzzardo, Billy Maloney
    Visual Effects / Ice Artists: Ciaran Moloney, Leonard Koch, William Morrison
    Compositing Lead: Geronimo Moralez
    Compositors: Renzo Reyes, Dan Blank, Geronimo Moralez, John Cornejo, and Pency Kinnard
    Head of Production: Danielle Hazan
    Producers: Jamey Kitchens, Sean Sullivan

  • Phil Mickelson and Luke List For Callaway XHot and RAZR Xtreme

    Phil Mickelson and Luke List For Callaway XHot and RAZR Xtreme

    Here's a look at the new RAZR Fit Xtreme TV ad featuring Phil Mickelson and the commercial for the all new X Hot Irons featuring Luke List for Callaway.

    Credits:
    The principals of design-focused production studio Leviathan are very proud to share the results of their collaborations with advertising agency Factory Design Labs on behalf of Callaway Golf Company. Numerous TV spots and brand films supporting the launch of Callaway Golf's new line of RAZR Fit Xtreme(TM) Drivers, X Hot(TM) Drivers, Fairway Woods and Irons have recently debuted on targeted media outlets and Callaway's YouTube Channel. Leviathan's team has been integrally involved in the end-to-end design, animation and visual effects aspects elevating the visual, artistic, branding and storytelling aspects of these spots and several new Callaway product films and still renderings that are 100 percent CG.

    Leviathan landed its first assignments for Factory Design Labs in 2011, and as a result of the studio's craftsmanship on those high-profile projects, it was chosen as an official partner for design, CG and VFX for the agency's 2013 campaign for Callaway. "Earning the opportunity to develop and apply extraordinary design and VFX solutions for Callaway is one of the most exciting things to happen for our company so far," confirmed Leviathan's executive producer Chad Hutson. "Knowing our contributions need to represent Callaway as the world-class leader moving into the future, we are pouring ourselves into perfecting the brand's look across all media platforms."

    Agency: Factory Design Labs
    ECD: Andrew Price
    Creative Director: Steve Pratt
    Associate Creative Director: Tom Goodrich
    Sr. Art Directors: Jason Shiskowsky, Steve Hurd
    Art Director: Elliot Hasse
    Director of Broadcast Production: Melany Fehrenbach
    Broadcast Producer: Jessi Dana

    Production: Supply & Demand
    Director: Josh Taft
    Co-Head Production: Tracy Hauser
    Producer: Tina Nakane

    Design, Animation, Visual Effects: Leviathan
    CD: Bradon Webb
    Lead 3D: Nathan Davies
    Lead Compositor/VFX: Chris Beers
    Lead 2D: David Brodeur
    Animator/Compositor: Katrina Nelken
    Compositor/Particle Effects: Tim Sepulveda
    3D Artists: Timur Salikov, Morgan James, Adam Stockholm
    Roto Artists: Patrick Schultz, Kurt Lawson, Shawn Sahara, Ashley Whitaker
    Graphics Editor: Mike LaHood
    Producer: Lauren Shawe
    EP: Chad Hutson
    ECD: Jason White
    VFX Director: Matt Daly

  • New Madden NFL 15 AD "Madden Season"

    New Madden NFL 15 AD "Madden Season"

    EA's new three-and-a-half-minute ad/promo spot starring Kevin Hart and Dave Franco. Featuring Conway. Rejoice, it's Madden Season. Don’t ask why.

    Credits:
    Ad Agency: Heat
    Executive Creative Director: Steve Stone
    Creative Director/Copywriter: Warren Cockrel
    Creative Director/Art Director: Anna Rowland
    Senior Writer: Ryan Hartsfield
    Senior Art Director: Jeff Fang
    Executive Content Producer: Brian Coate
    Content Producer: Jonathan Matthews
    Client: Electronic Arts
    VP, Advertising and Design: Dana Marineau
    Director of Global Creative Strategy: Dustin Shekell
    Advertising Manager: Scott Crissman
    Production Company: Hungry Man
    Executive Producer: Mino Jarjoura
    Director: Wayne McClammy
    Director of Photography: Bryan Newman
    Line Producer: Nate Young
    Editorial Company: Arcade
    Managing Partner: Damian Stevens
    Executive Producer: Nicole Visram
    Producer: Cristina Matraica
    Editor: Christjan Jordan
    Assistant Editor: Connie Chuang
    Music Composition: Beacon Street Studios
    Vocal Performer: Conway
    Executive Producer: Adrea Lavezzoli
    Mixer: Mike Franklin
    Assistant Mixer: Dewey Thomas
    Producer: Kate Vadnais
    Visual Effects/Conform: The Mill
    Senior Executive Producer: Sue Troyan
    Producer: Jordan Sharon
    Production Coordinator: Kris Drenzek
    Shoot Supervisors: John Leonti and John Shirley
    Creative Director: John Leonti
    Lead 2D: John Shirley
    Lead 3D: Tom Graham
    Colorist: Adam Scott
    2D Artists: Nick Tayler, Brad Scott, Scott Wilson, Adam Matis, Jake Albers, Robin McGloin, Tim Robbins 3D Artists: Kenzie Chen, Chris Goodrich, Bridget Warrington, Yorie Kumalasari, Krystal Sae Eua, Jesse Flores, James Ma, Blake Sullivan, Katie Yancey, Jonah Austin, Tyler Mele Design: Justin Demetrician
    Graphics/Animation: Cinco Design
    CD: David Cipriano
    Producer: Wendy Bryant
    Motion/Animation: Russell Hirtzel and Carlos Maya

  • The Lamborghini Project

    One of the world’s most elite (and expensive) cars recently became a canvas for the creative whims of the techie minds at The Media Merchants, a technology-driven production agency based in Vancouver.

    In November, the agency gathered influencers in the city’s creative, technology, design, advertising and automotive sectors for The Lamborghini Project, an exclusive audio-visual event centered around projection mapping onto a Lamborghini Reventon.

    At $1.5 million, the Reventon is the luxury automaker’s priciest road car. Only 20 have been produced and sold to the public. Using its raw, understated and angular exterior as inspiration, creative technical director Anthony Diehl and animator Stuart Langfield projection mapped a series of real-time visuals on to the vehicle’s dark grey, semi-matte finish.

    Initially, Media Merchants conceived The Lamborghini Project exclusively as a projection mapping experience but once they began the meticulous process of mapping animated images onto the car, they realized they had a one-of-a-kind opportunity to do something even more ‘live.’

    “One of the surprising and fun elements of the project was getting everything aligned perfectly and then discovering that we had a pretty awesome VJ setup sitting in front of us,” says Anthony Diehl, creative technical director on the project. “Although it wasn’t part of the original plan, we couldn’t help ourselves and took the opportunity to run a live VJ set with visuals created in real-time.”

    Diehl and Langfield developed the animated visuals using hybrid 3D and 2D techniques developed specifically for the purpose of projection mapping onto 3D objects. Working from the idea of ‘contrast,’ they sought to highlight the Reventon’s dark, moody and clean lines through a combination of predefined op-art imagery and improvised, real-time effects.

    “It’s a scalable technique, allowing us to add or remove projectors for the final execution depending on technical or budget considerations, even after the animated content has been produced,” explains Diehl. “We really tested out the extent of this process on the Lamborghini project and it worked beautifully.”

    The video content was created using MadMapper and Modul8 VJ software run off two Macbook Pro laptops networked together for playback sync and then plugged into three 7000 Lumen Panasonic projectors and one 6000 Lumen Christie Projector.

    For the music, Media Merchants turned to Mitch Lee of Redemption Audio for a soundtrack that contrasted pure and crisp strings, pianos and snyths with distorted percussion, dissonant noise and an ominous silence. The end result perfectly underscored The Lamborghini Project’s gorgeously subtle symmetry.

    Credits:
    Projection Mapping: The Media Merchants
    Creative Technical Director: Anthony Diehl
    Animation Director: Stuart Langfield
    Sound Design: Mitch Lee for Redemption Audio
    Post Production: JUMP Studios
    Videography: Perfect Pictures, Van Media
    Director of Photography: Dan Dumouchel
    Lamborghini Reventon: SR Auto Group
    via: GlossyInc.

  • Nascar On Fox — View The Show Ad Is A Thundering Thrill

    Nascar On Fox — View The Show Ad Is A Thundering Thrill

    Engine Room Creates New NASCAR On Air Graphics/Branding Package For Fox Sports; Photo-Real CG Show Open Establishes An Exciting New Look for NASCAR ON FOX

    Hollywood, CA — Engine Room’s latest NASCAR project for Fox Sports revved into high gear during the Daytona 500 broadcast. The expansive, high-energy package will air throughout the NASCAR ON FOX fourteen-week season and involved the creative development, design and production of the Show Open (Daytime and Night versions) as well as two new NASCAR ON FOX branding icons to be rolled out in the coming weeks.

    For the last two seasons, Fox Sports has tapped Engine Room for custom animation pieces involving intensive and rapidly produced, animated comic-style CG recaps of each weekly NASCAR race. This year’s the collaboration went into overdrive, with Engine Room delivering an entire broadcast sports package that showcases the thrills, spills and upsets intrinsic to NASCAR, all with a beautiful new hyper-real look. As part of the Open’s signature design, are animated race cars that reflect the evolution of new 2013 custom body styles from the big three automakers in a wild race to the finish line. Engine Room was also tasked with designing two new branding icons for FOX SPORTS to be used throughout the racing season. The new chrome, energy infused Fox X-Car and its high-tech robot driver Speedus, a powerful 3D animated cousin to FOX Football robot Cleatus, is a lightning-fast racing mascot on wheels.

    VFX Supervisor Dave Piedra, Creative Director Dan Schmit and EP Michael Caplan led the Engine Room design and animation team throughout the intensive process that spanned nine months, from the design phase to the execution of each deliverable in the campaign, which included two complete packages, the first for day races and a second to air during the season’s night competitions.

    “Our work with Fox Sports is always incredibly rewarding thanks to the vision and passion of EVP/Creative Director Gary Hartley and his team,” says Engine Room’s Dan Schmit. “We are proud of how our ongoing collaboration with Fox Sports has evolved for more than a decade from a relationship based on our live action skills, to now providing large scale creative branding projects where we have been invited to do it all, from developing original concept, through feature-level visual effects CG execution. Gary saw our potential early on and we look forward to many more years of exciting collaboration and visionary work in support of Fox Sports.”

    About Engine Room:
    Engine Room is a global creative arts studio specializing in visual effects, live action and design for television, commercials, feature film and new media.

  • SkylandersThe Beginning Spyro's Adventure Official Trailer

    SkylandersThe Beginning Spyro's Adventure Official Trailer

    Credits:
    Advertising Agency: 72andSunny, USA
    Creative Directors: Jason Norcross, Bryan Rowles
    Group Brand Director: Alex Schneider
    Designer: Jake Kahana
    Copywriters: Tim Wolfe, Mike Van Linda
    Brand Managers: Ellie Schmidt, Mandy Hein
    Agency Producer: Danielle Tarris
    Assistant Producer: Becca Purice
    Production Co.: Caviar
    Director: Jorma Taccone
    EP: Michael Sagol
    Animation Studio: PandaPanther
    Directors: Jonathan Garin, Naomi Nishimura
    Technical Direction: Adam Burke
    Stereo Supervise: Navid Bagherzadeh
    Design: Diana Park, Ivy Tai
    Storyboard: Fred Fassberger, Paul Boanno, David Reuss
    Editing: Maria Diakova, Alan Ortiz
    Set Building / Art Department: Junko Shimizu, Janet Kim, Shinya Nakamura, Kazushige Yoshitake
    Matte Painting: Tim Matney, Andrew Leung, Nick Giassullo
    Modeling / Photogrammetry: Sam Dewitt, Eric Xu, Jeeah Huh, Ari Hwang, Herculano Fernandes, Cristina Aponte
    Rigging: Jason Bikofsky, Amy Hay, Zhenting Zhou
    Previs: Richard Cayton, Adam Burke
    Character Animation: Han Hu, Guy Bar'ely, Henning Koczy, Sam Crees, Jordan Blit, Doug Litos, Danny Speck, Jeff Kim, Jared Eng
    Junior Animators: Doug Rappin, Chris Devito, Darren Chang, Chang Pei Wu
    3D Effects Animators: Reggie Fourmyle, Rich Magan
    Lighting / Texturing: Dave White, Ari Hwang, Herculano Fernandes, Laura Sayan Gabai, Lucy Choi, Christina Ku, Jeeah Huh, Carl Fong, Cristina Aponte
    Compositing: Matt St. Leger, Gerald Mark Soto, Chris Gereg, Adam Yost, Navid Bagherzadeh, Gabriel Regentin, Bryan Cobonpue, Sohee Sohn, Yingshu Lai
    Producers: Amy Fahl, Angela Foster
    Production Coordinator(s): Lauren Simpson, Jazeel Gayle
    Production Office Manager: Erica Armstrong
    Systems Rendering TD: Craig Zimmerman
    VFX: MPC
    EP: Asher Edwards
    Lead Colorist: Mark Gethin
    Lead Artist: Ben Davidson

  • The Mad Sausage Will Convince You Not To Eat Meat In This PSA

    The Mad Sausage Will Convince You Not To Eat Meat In This PSA

    A hungry young man gets served some serious food for thought when a sausage starts telling his dramatic life story and what he hears and see's will change his life forever.

    Director Louis van Zwol decided to create this spot after reading ‘Eating Animals’ by author Jonathan Safran Foer. Together with production company IamErika, he assembled a team of advertising and film professionals from Amsterdam, the Netherlands, who wanted to make a difference. This project is a product of both their love for film and sense of ethical responsibility towards animals. Once the spot was produced, Mercy For Animals — a United States-based nonprofit dedicated to preventing cruelty to farmed animals and promoting compassionate food choices and policies — showed great interest. IamErika & MFA began working together to bring the message to the largest audience possible. Thanks to the work of MFA, a 60 second version of the spot is airing in New York City, Los Angeles, and Chicago on MTV, VH1 & BRAVO & on HULU nationwide.

    Credits:
    Concept, Script and Directed by: Louis van Zwol
    Copywriters: Nick Schonfeld & Louis van Zwol
    Production company: IamErika.tv | Erika Vocking Productions
    Executive producer: Erika Vocking
    Director of Photography: NSC Steve Walker
    First A.D.: Boris Apituley
    Camera-assistent: Laurens Meulenberg.
    Gaffer: Joost Meeuwig
    Light assistent: Alexander Hokke
    Styling: Pythia Tarenskeen
    Make-up: Phoebe Guttmann
    Production assistent: Ruben van Steijn
    Modelmaker: Lucas van Doorn
    Editors: Kevin Whelan & Jelmar Hoekstra
    3D character animation: Alex Doss
    Compositing: Tek-Yan Wong, Win Chung Lam, Allard Zoetman & Otto Salomé
    3D tracking: Jos Wabeke
    Visual effects: Michiel Krop
    Character design and Storyboard: Menno Wittebrood
    Music & Sound composer: Geert van Galen
    Sound design: Robin Schlosser
    Web development by the Keplar Agency
    Influential Marketing: Rocco Stallyord | wearefirst.nl

  • Brand New School Revamps Ford Campaign for the NFL Season

    Brand New School Revamps Ford Campaign for the NFL Season

    Integrated creative company Brand New School recently completed a national campaign for Ford via Team Detroit to help launch its annual Built Ford Tough Sales Event. Directed by Jonathan Notaro, the series of four commercials is a new take on the auto manufacturer’s popular spots for their best selling line of trucks.

    Taking center stage in the campaign is a spot that showcases the versatile lifestyle options of the Ford F-150 with a mix of heavy live action elements and bold animation. Also included are three more animation-focused spots, all of which hit the air during the opening week of the NFL regular season. Taking inspiration from the iconic graphic design work of Saul Bass, these football-centric spots offer a fresh visual approach to this widespread campaign.

    “We’re honored to have contributed on this campaign for Ford,” says Brand New School Managing Partner Devin Brook. “The collaboration with Team Detroit was an ideal fit because of the diverse nature of the job, requiring strong live action and design to put a unique spin on this instantly recognizable campaign.”

    Creative Credits:
    Client: Ford
    Title: Built Ford Tough Sales Event Spots
    Agency: Team Detroit
    Production Company: Brand New School
    Director: Jonathan Notaro
    Art Director: Kris Wong
    Producers: Steiner Kierce, Johnna MacArthur
    Flame Artists: Mark French, Greg Cutler
    CG Leads: Marcus Stokes, Russ Wootten
    3D Animators: Val Sinlao, Mike Cahill, Danka Chiang, Garrett O’Neill, Billy Maloney, Kim Im
    2D Animators: Scott Uyeshima, Brian Do, Phil Guthrie, Nhi Vho, Ken Quemuel, Kyle Anderson, Mike Milyavsky, Nate Mulliken
    Tracking: Bogdan Mihajlovic
    Designers: Kris Wong, Sakona Kong, Waka Ichinose, Brandon Smith, David Chen, Joel Watkins
    Editor: Erik Barnes
    Assistant Editor: Sterling Robertson
    Storyboards: Max Forward
    Colorist: Tom Poole (Company 3)

  • CyberPunk 2077 Trailer

    CyberPunk 2077 Trailer

    Platige Image’s game division, led by Director Tomek Bagiński, follows the success of their epic The Witcher 2 cinematic with a stunning game teaser for CD Projekt RED’s Cyberpunk 2077, a follow up to Mike Pondsmith’s successful Cyberpunk 2020 games of the 1990s. A showcase of Platige Image’s design and execution capabilities, the snapshot of a violent far-future dystopia is building enormous momentum for the game’s September release, earning a Silver CLIO and nearly six million hits on YouTube.

    That the cinematic scooped up a Silver CLIO is just the latest positive development for Warsaw based Platige Image, which recently opened a new branch in New York. “This CLIO is a testament to the skill set that defines Platige Image’s team, especially with such fierce competition from the best studios out there,” noted Platige Image NY Managing Director Julian Cdae. “We are revved up to serve the US market with similar projects built with our ingenuity, technical innovation and competitive rates covering all aspects of postproduction.”

    The cinematic, which Platige not only created but helped to write, is a compelling masterpiece of the slow reveal, set in a still-framed world that at first shows only what appears to be a woman’s face, then a bullet smashing to bits upon impact with her cheeks as police fire at her, followed by progressive frames that reveal her to be a killer cyborg surrounded by piles of dead bodies. News cameras hover over the violent scene, evoking the 24-hour channels of today in order to create a visceral connection between the viewer and the futuristic footage.

    In a departure from the formulaic videogame heroines so commonly cobbled together from banal component parts, Platige Image built their character from an actress captured on IR’s 72×18 megapixel camera system, a state-of-the-art setup that captures 1.27 gigapixels of 3D color data from 360 degrees in a single shot. So vivid were the images that only the actress’ scanned hair follicles had to be recreated from scratch.

    “Ever since we set out to create it, we knew the promo would work only if the female protagonist engendered a serious emotional response in the viewers and pushed the boundaries of the typical female videogame form,” notes Bagiński. “The ability to work with a real actress and Platige Image’s access to IR’s outstanding camera thoroughly transformed the film, as the scanning enabled us to capture this fleeting element of authenticity, to use the beauty of a real person.”

    Platige Image faced considerable challenges in creating the cinematic, setting to work on the project while CD Projekt RED was still in the game’s core development stages. As Platige Image sketched out dozens of ideas for the teaser, the game developer honed the concept, style, look and feel of the game itself. Each influenced the other in a highly productive creative seesaw. “Developing the game and promo simultaneously made the film a logistical and organizational challenge, but it also imbued it with much more spontaneity and creativity,” notes Bagiński.

    Credits:
    Director / Story: Tomek Bagiński
    CG Supervisor / Animation Director: Maciej Jackiewicz
    Executive Producers: MarcinKobylecki, Jarosław Sawko, Piotr Sikora
    Producer: Marta Staniszewska
    Concept Artists: Damian Bajowski, Jakub Jabłoński, Maciej Kuciara, Maciej Rębisz
    Additional Concept Artists: Jakub Bogaczyński, Adam Trędowski, Rafał WojtunikCD PROJEKT RED
    Concept Artist: Robert Adler

  • FORZA MOTORSPORT 4 Endangered Species Live Action trailer (Xbox360)

    FORZA MOTORSPORT 4 Endangered Species Live Action trailer (Xbox360)

    Twofifteenmccann unleashes “An Endangered Species," new live action trailer for Xbox’s Forza Motorsport 4 Electrifying skills of award-winning stunt driver Martin Ivanov and the voice of Top Gear’s Jeremy Clarkson deliver an adrenaline-pumping film This week, twofifteenmccann debuted "An Endangered Species," a short live-action film to introduce Forza Motorsport 4 for Xbox 360.
    Developed by Turn 10 and published by Microsoft Studios exclusively for Xbox 360, Forza Motorsports 4 launches worldwide on October 11. “An Endangered Species” is a rallying cry for car lovers worldwide and a visceral illustration of something many have come to realize — the real world has become an unfriendly place for those who truly love automobiles. Economic concerns, environmental regulations, clogged motorways and a myriad of other restrictions all appear to threaten the very existence of the car enthusiast.
    Though the opportunities to have heart-racing experiences in the real world are becoming fewer and fewer, Forza Motorsport 4 offers a place to explore car passion freely without fear of speed traps or other impediments. twofifteenmccann brought together an elite team of automotive talent to create “An Endangered Species.”
    Widely acknowledged as one of the best stunt drivers in the world, Martin Ivanov stars as lead actor and stunt driver. Ivanov’s work in such feature films as Quantum of Solace, The Bourne Supremacy and The Bourne Ultimatum contain some of the most exciting driving sequences ever put to film. Jeremy Clarkson, host of the hit BBC TV series Top Gear, provides the voiceover.

    Twofifteenmccann partnered with production company MJZ and acclaimed director Nicolai Fuglsig on the project which was shot on location in Uruguay. The "An Endangered Species" trailer debuted on Monday October 3 on TopGear.com and will be seen on Xbox.com and other digital properties as well.
    Other campaign elements including TV, online videos, and print will support the launch of the game as well. twofifteenmccann is a creative and strategic agency specializing in media agnostic ideas for brands.
    Based in San Francisco and part of Interpublic, twofifteenmccann’s work is rooted in a philosophy of purposeful creativity. Clients include: The Coca-Cola Company, HP and Microsoft Xbox, among others. twofifteenmccann’s partnership with McCann Erickson enables the company to deliver creativity at scale
    Credits:
    Spot Client: Xbox
    Product: Forza Motorsport 4 Spot
    Title: Endangered Species
    Agency: twofifteenmccann
    Chief Creative Officer: Scott Duchon
    Associate Creative
    Director/Writer: Joe Rose
    Art Director: Rey Andrade
    Director of Integrated Production: Tom Wright
    Senior Agency Producer: Kate Morrison
    Business Director: Peter Goldstein
    Management Supervisor: Luke Lamson
    Account Executive: Stephanie Scott
    Business Affairs Director: MaryBeth Barney
    Production Company: MJZ
    Director: Nicolai Fuglsig
    DP: Ben Serensin
    Executive Producer: Emma Wilcockson
    Producer: Suza Horvat
    Editorial Company: Final Cut
    Editor: Rick Russell
    Executive Producer: Saima Awan
    Producer: Suzy Ramirez
    Editorial Assistant: Jacob Keuhl
    Visual Effects: The Mill
    3D Lead Artist: Chris Bayol
    2D artists: Tara DeMarco, Andy Bate, Elad Offer
    Executive Producer: Sue Troyan
    Producer: Sabrina Elizondo
    End Titles and Animation: Imaginary Forces
    Telecine: The Mill Colorist: Adam Scott
    Original Music: Human
    Producer: Jonathan Sanford
    Sound Designers: Rohan Young @ Lime Studios Rick Russell @ Final Cut
    Mix: Lime Studios
    Mixer: Rohan Young
    Audio Producer: Jessica Locke
    via:scaryideas.com

  • Behind the Scenes film for Amnesty International Award Winning "Pens" Spot

    Behind the Scenes film for Amnesty International Award Winning "Pens" Spot

    Uncover the secrets behind Troublemakers.TV award-winning film for Amnesty International directed by Onur Senturk through this making of.

    Amnesty International in collaboration with its agency TBWA Paris are back. Directed by Onur Senturk and co-produced by Troublemakers.tv and the studio One More, Pens is a full CG film shot in motion capture (Mocaplab) that epitomises the potential of each signature in the defence of human rights. Highlighting that the voice of a single person can bring about the birth of a social movement, the film concludes with the words “your signature is more powerful than you think” and features the song Iron Sky by Paolo Nutini. Through powerful imagery, Amnesty International has encapsulated the essence of its primary objective – inspiring communities to defend their fundamental human rights.

    Creative Credits:
    Client - Amnesty International
    Agency - TBWA Paris
    Vice President - Anne Vincent
    Account Management - Laure Lagarde
    Account Management - Isabelle Dray
    Clients - Bertin Leblanc, Arnaud Humblot
    Creative Director - Philippe Taroux
    Creative Director - Benoit Leroux
    Art Director - Ingrid Varetz
    Head of TV - Maxime Boiron
    Agency Producer - Amer Zoghbi
    Production Company - troublemakers.tv
    Director - Onur Senturk
    Producer - James Hagger
    Production Manager - Aurelie Chevalier
    Production Manager - Cecile Alvarez
    Production Assistant - Charles-Philippe Bowles
    1st Assistant Director - Thomas Bidart
    Motion Capture - Mocaplab
    Motion Capture Shoot Director - Remi Brun
    Motion Capture Supervisor - Frank Vayssettes
    Motion Capture Editor - Charles Fourgeront
    Motion Capture Assistant - Ahmed Turki
    Motion Capture Actor (Hero) - Romain Ogerau
    Motion Capture Actor - Franck Pech
    Motion Capture Actor - Charles Lelaure
    Co-Producer & Post-Production - One More
    Post Producer - Benjamin Darras
    Art Director - Johnny Alves
    Post Production Coordinator - John Meunier
    VFX Supervisor - Eddy Richard
    3D Artist - Francois-Xavier Gonnet
    Modelling, Setup - Gwenhael Glon
    Layout - Romain Durr
    Animation - Jérémie Vidal
    Layout, Lighting, Renders, Compositing - Jérome Rouvelet
    Layout, Lighting, Renders, Compositing - Thomas Rodriguez
    Layout, Lighting, Renders, Compositing - Tim Lebon
    Layout, Lighting, Renders, Compositing - Victor Besse
    R&D Supervisor - Alain Xerri
    Editor - Nicolas Larrouquere
    Additional Editing - Romain Bouileau
    Flame Operator - Hervé Thouement
    Music - Iron Sky by Paolo Nutini, Dave Nelson & Charlie Chaplin
    Music Art Direction - Philippe Mineur, Ferdinand Huet
    Sound Producer - Benoit Dunaigre
    Head of Music & Sound - Olivier Lefebvre