Remember Burning Safari, well now you can see the making of!
Remember Burning Safari? Well now you can see the making of.
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February 9, 2012 Stimulant has created LoopLoop, a visual musical sequencer that runs on the Sifteo cubes. LoopLoop uses an animated visual language as well as touch, motion, and placement of the cubes to create music. Very cool. Comments February 8, 2012 Istanbul creative agency Antilop created this audio-visual and interactive installation for Coca-Cola’s 125th Anniversary Exhibition’s Future Room concept for Turkish modern-art museum santralistanbul. Check out these five short, sweet and video-artsy pieces by Canadian motion designer Nicolas Ménard: Futile Devices.
February 7, 2012 Bold patterned designs on Gretel’s classy visual package for Vh1 Critics’ Choice Movie Awards 2012. February 6, 2012 John Whitney: Permutations Produced in 1966. Written in GRAF and FORTRAN, and recorded in black and white from the monitor of an IBM 360 mainframe. Color was added afterwards using an optical printer. February 5, 2012
February 4, 2012 February 3, 2012 London-based production studio Nearly Normal construct a brooding and introspective short film using papercraft models in The Wolf I Used To Be. Audiovisual design studio No-Domain put together this refreshing video piece titled Lullaby Crocodile. For the exhibition at the Royal Castle in Warsaw, Poland, Novinastudio created this animation to tell the story of the famed castle: The Royal Castle – from Destruction to Reconstruction. February 2, 2012 Herb Lubalin demystifies the process and opens up about the creation of his famed PBS logo. Straight from the AT&T vault, Saul Bass’s 26 Minute pitch video to AT&T, introducing the new look: the largest corporate identity design in American history, at the time. February 1, 2012 New shop on the block, Sebas and Clim, pop onto the scene with Tiny Story: a spiffy little motion piece to celebrate the launch of their official website. Animator Alasdair Willson hits a grand slam with a fresh, new website packed with big-name projects. Watch a five-year-old identify an array of corporate logos and offer insight into their brand in Fresh Impressions on Brandmarks (from my 5-year-old). Filmmaker Danny Cooke has documented the dying art of letterpress in a short film titled Upside Down, Left to Right: A Letterpress Film. January 31, 2012 Los Angeles-based designer Michael Lozada Tello shows a range of snazzy work on his website, HelloTello.com. January 30, 2012
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Remember Burning Safari? Well now you can see the making of.
It’s been really interesting seeing what new mediums motion graphic design spreads to. Clothing company, Diesel, recently implemented some holographic technology to use in a runway show in Italy, displaying floating images that interact with, supplement, and transition the live models. While the technology itself isn’t insanely new (The Gorillaz have used it for their live performances), it seems fitting that a company like diesel, who pushes the boundaries of design and many aspects, would use it in such an interesting way. Check out this link which contains a short write up about it and a you tube video showing the 17 minute show.
Spanish animation studio DVein created the animation, and denmark company Vizoo headed up stage production.
Found via mograph.net
low poly jesus with lasers, shooting from his eyes

Gault just put up a fresh and moody new reel. A lot of very nice work cut to the lingeringly slow pace of his chosen track. All the elements meld together quite well in his reel to create something that is a bit different than the usual poppy montages that are currently out there.
I very much enjoy the choice of a borderless animation on a black page with zero ui, especially for the segments in his reel where Gault decides to fade everything to black. Gault uses this blackness to his advantage to dictate the energy and overall feel throughout. By not being bound by a single aspect ratio he is able to alternate the scale and framing to affect the energy without changing the overall pacing of his reel. This decision allows him to keep the slow track but still offer those moments of excitement, it also gives his montage solidarity that does not solely rely on the track like many others tend to do.
In most cases, when a reel is cut to a slower track it can easily turn into a very lackluster experience. The choices Gault made and the work that he showcases makes the difference for this well rounded reel.
I’m not sure how long these have been up, but I just noticed that Buck has posted a series of bumper-ish pieces they created for Comcast Shortz.
These are beautifully crafted little gems. Visually, they’re not overwrought with detail. The point here is to set up a joke and deliver the punchline quickly and with maximum oomph. As with all humor, the success of these spots boils down to timing.
Buck, thankfully, has incredible timing.