NYC Mograph Meetup: 3 Year Anniversary
Celebrate three years of NYC Mograph Meetups on Nov. 30 at 8 pm @ Mary O’s.
Sunday, November 27th, 2011 | Comments Off
Archive for November, 2011
Ned Wenlock: MGMT’s “All We Ever Wanted Was Everything”
In Ned Wenlock’s new music video for MGMT’s cover of Bauhaus’s “All We Ever Wanted Was Everything,” he further explores the techniques used in his earlier music video for Danger Beach’s “Apache.” Ned cleverly highlights the surreal lyrics with custom typography that becomes our guide through a dreamy, ever-unfolding (or is it un-curling?) world.
Ned has been kind enough to share some development imagery with us. More info on the concept and process at Ned’s blog.
Saturday, November 26th, 2011 | 1 Comment »
National Television for Syfy
National Television imagines a greater Rube construct for Syfy
Saturday, November 26th, 2011 | 1 Comment »
X-Men: First Class End Titles
Simon Clowes + Prologue created this beautiful, Maurice Binder inspired, title sequence for X-Men: First Class. (more insight here via Forget the Film, Watch the Titles)
Thursday, November 24th, 2011 | 5 Comments »
Mercedes “Escape the Map”
Digital Domain teamed up with director Carl Rinsch, RSA and AMV BBDO for “Escape the Map,” a surreal POV journey into a world inspired by Google Street View. With characters ravaged by digital artifacts, blurred visages and time echoes, it’s a slickly imagined ride that pulled me in, despite knowing it was a car advert.
The film was intended for a lightly interactive microsite, which you can visit here.
From the release:
Digital Domain Visual Effects Supervisor Jay Barton, who is currently working with Rinsch on his upcoming feature for Universal Pictures, “47 Ronin,” led the team. His idea was to use photogrammetry — a technique in which measurements are taken from photographs to create real-world objects — to create the world. All of the live action was shot in Hong Kong, with Barton scouting and shooting iconic locations which were later used in the world-building. Additional green-screen shoots were staged in Hong Kong and Los Angeles.
“We first had to develop the visual language of the world,” Barton said. “We took inspiration from Google Street view and replicated that, but in moving video. As photos are stitched together, they sometimes seam strangely. They might not line up, or two buildings might occupy the same space, or people get cut in half. We played a lot with how images would load or resolve, or react when a whole new set of photos came in to reset the world. Here, when you explore you have more options and more viewpoints. You can decide where to look, walk, or drive and your perspective and resolution update accordingly.”
Monday, November 21st, 2011 | 24 Comments »
Sean Pecknold: Fleet Foxes’ “The Shrine/An Argument”
Talk about a great Monday. A note from Friend let us know that Sean Pecknold’s eight-minute epic for “The Shrine/An Argument” by Fleet Foxes is now available for your eyeballs. As recommended by the artist: Please watch in HD with headphones or speakers and full screen if you really want to get crazy. And check out the credits list for the small team full of talent that made this happen.
Monday, November 21st, 2011 | 4 Comments »
Micaël Reynaud: Amalgamation
Winner of the best use of displacement map/compound blur ever — Micaël Reynaud, with portraits by Michael Jang. Also available as an animated gif, of course.
Hat tip to Jon Gorman.
Monday, November 21st, 2011 | 2 Comments »
