Lauren Indovina's Posts
The Beast Is Back
“Blood Trail” (Updated with interview and making-of)
Nathan Love’s latest masterwork, “Blood Trail,” is a neo-renaissance for the studio, a breakthrough as they launch into game and film territory.
“Blood Trail” unfolds mysteriously. Its subtle storyline is boosted by bloody, body-ripping visuals that are fervently executed as Nathan dives into uncomfortable CG guts territory. Consequently, this animation is gorrific, ultra violent, horror-themed, over the top CG storytelling in all its glorious might.
Nathan Love graciously chatted with us about this project, sharing their process imagery and delving deep into the details. Check it out.
Gabriel Pulecio is Lustix
Motion designer, animator, and illustrator Lustix / Gabriel Pulecio updates with a seriously sleek body of illustrated works.
Nathan Love: Pocket Plates!
Nathan Love aces this hilarious and spot on character ad for Pocket Plates, the pocketed plate that keeps your food from touching! The spot features some sick character development in under 30 secs. Who knew carrots were such little bitches?
Once again, director Ray Tintori pairs up with MGMT to create this satanic hipster-montage music video for “Kids”. Don’t miss the dope animation end sequence featuring some killer cell work.
National Television’s Wipeout promo for G-rated ABC is violent CG sweetness. If the show is as fun as this spot, stupid human stunts might actually be worth watching.
Psyop Delivers for UPS
Weeks ago, we quickied “Gladiator,” the first of an ongoing campaign for UPS, due to the staggered release dates of the remaining spots. While additional spots are headed our way, shelving “Circus” until then would be a FU to the craft and creativity gods.
Corrugated cardboard, next to clay or pixels, is one of my favorite materials. Its seemingly innocuous appearance can transform into patterns and volumetric structures with a few simple folds, slots and slices. Any shop that manages to infuse human spirit into corrugated cardboard gets major cred from me. In “Gladiator” and “Circus,” Psyop does just this, transforming a bland brand of brown and a non-aesthetic material into a land of lions, elephants, and acrobats.
The charm of hinged puppet characters is met by the team’s technical muscle, layering golden light and atmospheric debris to turn a dull, trash material into treasure.
NYC ACM SIGGRAPH’s Industry Spotlight VII
Don’t miss NYC ACM SIGGRAPH’s Seventh Annual “Industry Spotlight” this Wednesday, April 1. Some of the top animation and post-production facilities in the NYC-metropolitan area, including Curious Pictures, The Mill, Psyop, Nathan Love, and Framestore, to name a few, will talk about their company, show recent work, and discuss future projects.
Justin Claus Harder
Justin Claus Harder’s site is busting with wicked work. Don’t miss some very cool character designs in the personal section with “work so personal I put it online.”
Twouble with Twitters
What’s Twitter? Don’t “get” it? Current delivers a funny spoof on the latest social networking micro bloggy thingy.
THANK YOU relaunches
Danish based THANK YOU relaunches with a brand spankin’ new 09 reel
David O’Reilly: When You’re Smiling
Pictoplasma, the global clearing house for contemporary character design and art, commissioned director David O’Reilly to create the show open for Pictopia, the Pictoplasma exhibition taking place in Berlin this week.
Set to a hollow yet pleasing rendition of “When You’re Smiling,” O’Reilly tells the story of a skeleton looking for character parts in a warehouse-like digital space. Once the pieces are chosen, he replaces himself with the bits to create a generic but adorable little guy who walks through a mirror onto a stage.
WYS sparked some discussion at Motionographer headquarters. Although it seems innocent enough on the surface, O’Reilly’s film is subtly subversive: The central figure transforms itself from a human form into a clichéd icon, one assembled from samples of Japanese pop culture—a tendency that’s obvious in much of the character work at exhibitions like Pictopia.
In broader terms, “When You’re Smiling sets up a debate about the nature of animation and character design as triggers for empathy,” said Motionographer’s Justin Cone. Do characters—especially simplified, cuddly critters—act as psychological mirrors for audiences? If so, what sort of relationship is that? What kind of stories does that encourage/discourage? Are some stories being left behind?
As the opening for a gathering about character design, O’Reilly’s film couldn’t be more appropriate. It once again shows his penchant for intelligent iconoclasm expressed through engaging narrative. He reminds me of Brad Bird’s famous insistence that animation isn’t a genre, it’s an artform.
yU+Co: The Watchmen Titles
NOTE: This title sequence was removed at the request of Warner Bros. I will never understand Hollywood’s approach to free publicity. Persistent souls will still find the titles elsewhere online.
yU+Co and director Zach Snyder teamed up to create this epic title sequence for the eagerly anticipated “The Watchmen”, which opened in theaters today.
The title sequence sets up the movie by traveling through several stylized time periods beginning in 1939 and ending in 1985. Vintage superheroes take stage as dynamic slow motion and selective movement empower each shot with beauty and intrigue.
From the yU+Co release:
According to Director Zach Snyder (via Fandango);
The result is an imagined yet nostalgetic superhero landscape, setting up the film to be, hopefully, as inspired as the title sequence itself.