I’m loving the portfolio of Cappuccino Studio, a new animation studio based in Paris. Their character design is consistently adorable, and their use of texture and novel rendering techniques add visual interest to their projects. It doesn’t even matter that I can’t understand a word of the voiceover tracks; their work transcends language.
Archive for March, 2008
Webby-in-Motion is a special collaborative contest presented by Adobe and The Webby Awards where we ask motion designers, illustrators, animators and other talented creative minds to design a 20-second category introduction animation/video for The Webby Awards Gala in NYC on June 10, 2008. Since we know that that sort of thing can often be time-consuming, creatively draining, mind-numbing, frustrating and sometimes even dangerous, we offer the grand-prize winner this sweet foursome:
- VIP trip for two to the star-studded Webby Awards in New York City
- $10,000 cash
- AdobeÂ® Creative SuiteÂ® 3 Master Collection
- Prize package from Stash, including an interview on Feed
[flv:http://motionographermedia.com/themill/mill-new-balance.flv 468 351] QuickTime version (640×480)
I sat on this moody New Balance spot for a while. The visuals are stunning. With set designs that reference early German Expressionist films and a palette suffused with warm tones, the protagonist’s tortured passion for running is beautifully realized.
But the voiceover almost kills the whole spotâ€”hence my hesitation in posting it. I thought at first I was in for an ironic “Real Men of Genius” gag, but as the script progressed, I just scratched my head in confusion. I have a suggestion. Mute the soundtrack and queue up some Philip Glass or Brian Eno instead.
As always, The Mill handled the post-production flawlessly. Never slamming unnecessary effects down our throats, they opted instead for understated surreality.
This making-of video from Larry Cuba explains how he created the computer animation sequence used during the Death Star briefing scene in Star Wars Episode IV. Looking back at the dawn of CG imagery is always interesting for a nerd like me, but it’s even more fascinating when you consider that Larry thought of himself more as an experimental filmmaker than anything else.
In Larry’s own words, from an interview with Video and the Arts Magazine:
It seems the major assumed goal is to push the state of the art technologically. I’m not interested in that. My work is not part of that big race for the flashiest, zoomiest, most chrome, most glass, most super-rendered image. My interest is experimental animation as the design of form in motion, independent of any particular technology used to create it. The underlying problems of design in motion are universal to everyone working in this tradition whether they use the computer or not. So in that sense what I do is not “computer art.”
Big thanks to Russell Hirtzel for the tip!