Yule Log 2.0 re-imagines the traditional Yule Log through a collection of 53 short films by illustrators, animators, directors, and creative coders. First televised in 1966 by WPIX-TV as a gift to viewers, the Log has since burned itself into our hearts.
Yule Log 2.0 is a project curated by Daniel Savage and built by Wondersauce. In total, 65 artists participated in the project.
Evoking the ghost of art-for-art’s-sake collaborative film-making project PSST! Pass It On, Late Night Work Club brings together many of the most talented indie animators working today and creates a platform their stories. All work was done DIY, between jobs and classes, with no funding, between September ’12 and August ’13.
Weighing in at thirty-eight minutes, LNWC’s first animation anthology, Ghost Stories is now available online and free of charge.
Each of the eleven shorts in the collection are striking, with heavy lifting on both the storytelling and visual fronts by all of the animators. My two favorites are The Jump by Charles Huettner and Phantom Limb by Alex Grigg. Huettner’s film takes a simple idea and executes it beautifully, giving us small windows into varied lives. Grigg’s film exemplifies how animation can convey a story more effectively than other visual mediums – the character’s psychological state and eponymous phantom limb visually distorting the world around it.
Additional props to David Kamp, who created the aural environments to many a ghost story.
Sydney-based Patrick Clair has made a name for himself pushing visual communication to the next level. His infographic dissecting the nature and ramifications of Stuxnet went viral (no pun intended), with millions of views and diverse screenings in both art/design circles and military presentations.
Clair has started a studio called Antibody that specializes in translating dense, abstract topics into exciting and accessible videos. Recently, Antibody worked with Ubisoft and Massive Entertainment to create the launch trailer for their new multiplayer online shooter rpg, Tom Clancy’s The Division.
Together, they created a script that blended fact with fiction. Real world elements, such as the 2001 Dark Winter simulation and the 2007 Directive 51 laws implemented by President Bush, were combined with a hypothetical scenario encompassing bioterror strikes, a flu pandemic and subsequent economic collapse.
In a time when the industry at large seems wary and economically less than stable, it’s great to see Clair and Antibody moving boldly forward, identifying and focusing on their unique voice. Patrick was kind enough to share a few words with us:
With traditional production models evolving rapidly, this feels like the right time for motion designers to be striking into new territories and becoming content producers in their own right. With formats and funding models changing constantly, there’s many opportunities for motion design studios to produce narrative entertainment, factual storytelling and informational productions for a variety of different platforms.
Communication, clarity and impact on the viewer. These are the things that should drive every design decision. Story is crucial, aesthetics come afterwards.
I guess that the most important thing is not to get lost in the details, it’s easy to get hypnotized by the complexity of graphics production and the ambition of achieving certain effects.
The best videos are always the simplest. Ultimately, motion graphics is all about focus and flow.
Here’s hoping that more studios can follow their lead and work on intellectual property in addition to creating graphics.
My favorite part? The simple staircase where it’s hard to tell if the dimensionality is in the animation or an ode to Anthony McCall‘s volumetric light.
The video is based on a concept explored in Wriggles & Robins’ short film, Love is in the Air. There’s nothing quite like real light interacting with fluid dynamics to remind you the real world is magic.
Virgilio Villoresi: John Mayer “Walt Grace’s Submarine Test, January 1967″
Milan-based Virgilio Villoresi uses the pre-cinema technique, ombro cinema, to animate the drawings made by Virginia Mori. Everything was filmed in live-action, no post production effects were employed. Make sure to check out the rest of Virgilio’s charming portfolio.
Spectacle: The Music Video is the first museum exhibition to celebrate the art and history of the music video. This groundbreaking exhibition, curated by Jonathan Wells and Meg Grey Wells of Flux (and RES Magazine fame), explores music video as an important and influential art form in contemporary culture.
Here’s hoping Spectacle can tour many more cities and this amazing collection of videos will find a home online.
The music video is one of our favorite mediums at Motionographer. What sets it apart from tv, feature films, musicals, or short films? One significant characteristic is the high percentage of writer-directors. A music video director often writes the treatment himself and leaves a strong, tangible mark on the final product. If film is a symphony, and a television episode is a chamber piece, then a music video is a solo.
The second notable characteristic is the “music” in “music video”. A music video inherently has a relationship with another piece of art and another artist. Sometimes this means you’re getting a hybrid idea that’s the result of a collaboration between the director and the musician. Other times the director is solely responsible for the concept, but the song itself provides a jumping off point. As opposed to short film, where you start with a blank page, a music video starts with a running time, a mood, and lyrics as constraints from which creativity and innovation occur.
Music videos allow artists their individual voices. In the film and entertainment industry, it’s one of the few places where there’s a need for true invention without too much interference. In my experience, music companies and music artists would hope for something new and inspiring when commissioning a video. That expectation was a fantastic motivator for us as directors.
When animating “Take On Me”, we were asked to bring our unique talents to the project. It was a chance for our careers to catch fire and get work out to millions of people. Whether it’s a video, an installation or an interactive experience. People love experiencing original work and a unique vision. This is why this medium will keep growing and developing.
Montreal-based Renaud Hallée creates music-centered short films and interactive projects. We’ve previously featured Combustion, Gravity and Sonar. In Renaud’s new film, The Clockmakers, trampolinists trigger mesmerizing musical sequences with their acrobatics.
Tomorrow night! See No Evil presents an evening of inspiration with the delectable Malika Favre & Barcelona superheroes Dvein.
As with SNE tradition, we will be using our raffle to raise money for the Philippines, so bring a fat wallet!
Free entry, prizes & good times!
Our Christmas special double show is almost here and boy do we have a mega line-up! See No Evil presents an evening of inspiration with the delectable Malika Favre & Barcelona superheroes Dvein.
Free entry, prizes & good times!