Michelle Higa Fox's Posts
Mark Wincek: Lumin
Hunting with light, a nice story idea and lighting execution in Mark Wincek’s mid-year school project, Lumin.
Alan Poon, Eric Malika, Robin Nishio: Tim Horton’s “Coffee Art”
coffeecoffeecoffeecoffeecoffeecoffee FRESH POTS!!! Toronto-based Common Good and directors Alan Poon, Eric Malika, and Robin Nishio use coffee to tell the story of coffee at Tim Horton’s.
Interest piqued by sand animation? Check out the work of Corrie Francis Park, Caroline Leaf and Cesar Díaz Meléndez.
Hat tip to the DragonFrame Blog.
Pingo van der Brinkloev: It’s Paper
Pingo van der Brinkloev explores C4D paper shaders with some nice loops in It’s Paper.
Sumo Science: Sudafed Mucus Relief
Great character animation and materials in this short ad for Sudafed by UK-based Sumo Science (Ed Patterson & Will Studd).
Monday, December 9th, 2013 | Comments Off
Karni and Saul: The Staves “Winter Trees”
London-based Karni and Saul blend beautiful compositing with peculiar creatures inspired by laser-cut wood in this music video for The Staves’ Winter Trees.
For more woodcut-goodness, check out Nando Costa’s The New America and the work of Huntergatherer.
Monday, December 9th, 2013 | Comments Off
Ohji: Keys N Krates “Treat Me Right”
Happy Friday. Make sure someone treats you right and kick back and watch Ohji’s Keys N Krates music video for Treat Me Right.
Adam Gault Studio: FX Idents
Who’s making all those fun idents for FX? Oh, it’s Adam Gault Studio. Check out American Horror Story, Always Sunny S9, and The Bridge.
Daniel Savage & Wondersauce: Yule Log 2.0
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.
Daniel was kind enough to share more about the creation of the project, including the original brief. Read about it after the jump!
Michael Fragstein: Boozoo Bajou “Jan Mayen”
Stuttgart-based Michael Fragstein created this music video for Boozoo Bajou’s Jan Mayen. Inspired by a volcanic island in the Arctic Ocean, landscape and weather maps, the animation uses a kind reverse-stratacut approach to explore flowing lava-like animation.
Thursday, December 5th, 2013 | Comments Off
Carl Addy & Mill+: Credit Suisse “Bam”
Carl Addy and Mill+ put Roy Lichtenstein into motion for Credit Suisse.
in/out: Mt. Wolf “Midnight Shallows”
London-based in/out (aka Jean-Philippe Blunt & Thom Humphreys) explore the world of chronophotography and Étienne-Jules Marey in this music video for Mt. Wolf’s Midnight Shallows. I love the video’s restraint and balance, lovingly reveling in each unique motion. The later shots that composite the dancer and echoed ribbon are particularly lovely.
For more chronophotography love, check out Norman Maclaren’s Pas de deux, Michael Langan’s Choros and Mass Market’s Nike “Human Chain”. Or roll your own in processing.
Hat tip to Promonews.
Tuesday, December 3rd, 2013 | Comments Off
Mario Hugo: Coldplay “Atlas”
NY-based Mario Hugo directs a celestial music video for Coldplay’s Atlas.
Gergely Wootsch: Savages “Marshal Dear”
London-based Gergely Wootsch brings gorgeous Vonnegut-inspired visuals to this music video for the Savages’ Marshal Dear. Love the mix of 3D camera/environment and drawn 2D textures.
For more of Gergely’s work, check out The Hungry Corpse, This is Not Real and Ordæmonium.
Late Night Work Club: Ghost Stories
Late Night Work Club is Dave Prosser, Charles Huettner, Sean Buckelew, Jake Armstrong & Erin Kilkenny, Caleb Wood, Louise Bagnall, Alex Grigg, Conor Finnegan, Ciaran Duffy, Eamonn O’Neill, and Scott Benson.
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.
Rather than following a Kickstarter model, LNWC created their films first and will offer HD download packs with digital goodies and limited edition Uncanny Mystery Packs as a way to give back to the filmmakers. Follow LNWC’s tumblr and twitter for upcoming film screenings and more info. Those of you in/near London – there’s a screening on Sept. 3 (tonight!)
Update: Nice interviews with LNWC fearless leader Scott Benson over at Cartoon Brew and The Creators Project!
Cyriak: Bloc Party “Ratchet”
Cyriak brings his signature style to Bloc Party’s performance in Ratchet.
Antibody: Tom Clancy’s Division
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.
Wriggles & Robins: Travis “Moving”
London-based Tom Wrigglesworth and Matt Robinson, aka Wriggles & Robins, create this lovely in-camera music video for Travis’s Moving. On a chilly chilly set, the band’s breath reveals animations within a projector beams.
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.
For those of you curious to learn more, check out lenticular sheets and autostereoscopy, aka glasses-free 3D. Go nuts with lenticular image creator.
Behind-the-scenes photos and credits after the jump!
Spectacle: The Music Video
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.
The exhibit is a treat for any animator, filmmaker, music lover, or pop culture geek. There’s Michel Gondry’s White Stripes legos, the original drawings from A-ha’s Take On Me, This Too Shall Pass OK GO jump suits, Gangnam Style sans music, and over 300 videos to enjoy on loop. The beautiful exhibit design is by Logan.
After its inaugural run at the Contemporary Arts Center, Cincinnati last year, it has landed in New York and will be on view for one more week at the Museum of the Moving Image in Queens. The Museum is open Wednesday through Sunday, check out their hours here.
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.
Michael Patterson, who created the iconic animation of A-ha’s Take On Me music video shared the following thoughts with us:
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.
Collider: #VFX Town Hall
The #VFX conversation continues with the Collider 2013 VFX Town Hall. In-room and live streaming audience members can join us and vote on key issues at 6:00 PM EST, Monday, June 10th.
Monday, June 3rd, 2013 | Comments Off