Faux Images III

Hey Berlin Mographers, this animation & motion design meetup is happening next week, on Oct 18th at LEAP, Karl-Liebknechtstrasse 13.
More details go here. 

Work/Life: The 40 Hour Work Week

Photo by adesigna

The headline for this post probably strikes most of you as a joke — at least those of you working in motion design in the US, and especially those of you working in LA or NYC.

But it’s no joke to J.D. Meier, a Principal Project Manager at Microsoft for over 10 years, who uses the 40 hour work week as his barometer for project management success. As he says on his blog:

In my experience, a 40 hour work week is a benchmark of the most effective teams.  They have work-life balance.  They have buffer to respond to opportunity and to deal with crunches.

Meier has overseen projects large and small, with budgets ranging from zero to over a million dollars. A self-avowed workaholic accustomed to slaving over 100 hours a week — and enjoying it — he finally came to realize that such an approach was not only unsustainable for himself, it was also unsustainable for Microsoft.

Inviting inefficiency to tea

Without the constraint of a 40 hour work week, all sorts of inefficiencies become the norm. It’s as though they’re being invited to tea — and to supper and a late-night snack.

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A Passionate Bear

A passionate bear for Canal + Produced by 75, directed by Dutch director Matthijs van Heijningen for BETC Euro RSCG. CG by Mikros Images

Psyop for Twinings Tea

Psyop makes this beautiful spot titled “Gets You Back To You” for Twining Tea.

New compositing technique for inserting objects into photographs

“Rendering Synthetic Objects into Legacy Photographs” offers an interesting new approach to compositing. (Thanks, Ben!) Also: Check out our round-up of other interesting papers from SIGGRAPH 2011.

Carlos De Carvalho: Timber Timbre’s “Do I Have Power”

Carlos De Carvalho directs this haunting promo for Timber Timbre’s “Do I Have Power.” (Thanks to Dom for the tip!)

Dvein: Eva Main Titles

So delicate, and so slick. Dvein puts together a stunning title sequence for Spanish film director Kike Maíllo’s first feature film, Eva. Go fullscreen on this!

Dvein was involved in the film from the beginning by designing the “hands-up” interface through which the film’s protagonist controls the consciousness of the robots that he creates. That design was the starting point of the main titles of the movie: a detailed approach to the mechanisms of the interface, a simpler introduction that turns into something more and more complex that introduces the viewer to the world of Eva.

Credits