[NYC] Collider Digital Production Conference
The speaker lineup and master classes for Collider look pretty interesting. Who’s going? UPDATE: Motionographer’s Michelle Higa Fox will be on the VFX panel. Use promo code COLLMotion for 10% off.
[NYC] Collider Digital Production Conference
Lilit Hayrapetyan updates
Don’t Fail Idaho (Extended Version) by Buck
Over the last several years, Buck has made a point of creating elegantly clever PSAs for causes they believe in. For their latest visual essay, they partnered with Idaho-based agency Drake Cooper to spread the message of the J.A. and Kathryn Albertson Foundation.
With charming audio from Echolab, the spot has a folksy quality befitting its subject matter. As usual for Buck, the transitions serve up delightful surprises by the eye-full while visual metaphors peppered throughout the poignant script give the spot equal measures of weight and wit.
Roof launches in NYC
Target and LA Live
While all the videos are cleverly executed, Gentleman Scholar’s stands out for its excellent character work and interplay of 2D and 3D elements. It lives up to its title, “Surprise and Delight,” by introducing a lovable cast of creatures with charming panache.
Other projects for the Target LA Live
Glassworks Amsterdam for G-Star: The Art of Raw
Collaborating with G-Star’s in-house creative team, Glassworks Amsterdam created a gorgeous odyssey through the production of denim as part of G-Star’s “Art of RAW” campaign.
Directed by Glassworks’ own Rudiger Kaltenhauser, the spot mimics macro photography, creating a hyper-real journey that brims with tactile details, despite being entirely CG.
In-Depth Coverage: Stylefames NY Opener
Conference openers have become the vehicle of choice for many studios to show what they can do without an overbearing client or agency brief hemming them in. The creative contraints for conference openers are usually very loose (probably owning to the guilt organizers feel for not being able to pay anyone for their work), inviting experimentation and risk-taking that’s hard to find in the commercial world.
While the budgets may be low, the expectations are very high. And for a conference about “the art of the pitch,” the expectations are unusually high.
A Meeting of the Minds
As usual, the audio deserves as bright a spotlight as the visuals — and in this case, the man behind the audio, John Black (CypherAudio) had a special role to play in this collaboration.
We got the inside scoop on the process behind the project from John Black, Anthony Scott Burns and Chris Bahry of Tendril.
Interview with Anthony Scott Burns, Chris Bahry (Tendril) and John Black (Cypheraudio)
John, let’s start with you, since it many ways this collaboration began with you. Tell us how that came about.
John Black/Cypheraudio: During my initial meeting with Stephen and Heather [of Stash Magazine, organizers of the Style Frames NY event], they asked me who I would be interested in working with to create the opening. I immediately suggested Tendril.
Sam Mason and Pete Candeland: Mazda “Incredible World”
Strange Beast put director Sam Mason and creative director Pete Candeland together on “Incredible World,” a stunning advert for Mazda and agency Garage/Team Mazda. The spot follows a new model Mazda CX-9 through seamlessly integrated landscapes rendered in lushly stylized CG.
Gabe Askew: “Goat and Aaron”
Gabe Askew (Hornet) is no stranger to Motionographer. We posted his first break-out project here, an unofficial music video for Grizzly Bears “Two Weeks” that seemed to garner more interest online than the official video.
Since then, he signed with NY-based production company Hornet and has been developing his storytelling chops. His recently released short film, “Goat and Aaron,” shows the same penchant for tactility as his other work, but it contains something new for Askew: character dialogue.
We caught up with Gabe to get some insight into the process behind the project.
Q&A with Gabe Askew
The look for this short is beautiful. It seems to be the result of mixing many different techniques. Can you talk about the techniques you used?
The world you’ve created for the short is brimming with lovely textures. What was the thinking behind building the world with such a tactile quality?
Prologue: “Elementary” Title Sequence
Simon carries Prologue’s legacy of impeccably crafted title work forward. His penchant for live action elements reminds me of my favorite work from Kyle Cooper, Prologue’s founder. Both Cooper and Clowes’ work leverage visual metaphors to foreshadow elements of the narrative ahead.
Both also bring a graphic designer’s eye to their framing. Credits appear in perfectly shaped lagoons of negative space, nestled between gritty textures and golden light. It’s a subtle art, one that Clowes commands with a mastery befitting Prologue.
Tip ‘o the hat to Ash Thorp.
Wolf & Crow Launches
After working in relative obscurity for a year, Wolf & Crow recently launched their website. It’s full of high caliber work, quickly establishing the fledgling studio as a force to watch out for on the LA scene.
Our favorites in the portfolio are the trailers for Marvel Avengers: Battle for Earth that debuted at E3 and Comic-Con.
Both trailers show off a wide range of skills, including deft character animation, nuanced effects work and beautiful environments.
Wolf & Crow is helmed by CDs Matt Berenty, David Bokser, Andrew Romatz and Chad Howitt, with former Logan EP Kevin Shapiro holding the reigns as Managing Director.
Asylum vs Leo Burnett London: Where Do You Stand?
By now you’ve probably read Asylum Films’ open letter to Leo Burnett London, in which the production company accuses the agency of “reshooting” a job that Asylum had already completed for them. An excerpt:
Leo Burnett London responded on their blog, citing “misinformation”:
Ouch. Leo Burnett London is basically saying that Asylum did such a good job (for the money) that they justified the client spending more money and going with a more expensive (read: higher end) production company.
Of course, the whole reason that Asylum knocked themselves out on the project (presumably losing money on it) was so they could get repeat business and be Leo Burnett’s go-to prodco for bigger and better projects.
From one perspective, you could argue that Asylum misjudged the opportunity. They saw it as an entry point to bigger budget work, when it fact it was only a one-off gig. They rolled the dice and lost. Them’s the breaks.
From another angle, you could argue that while Leo Burnett London wrote the script, Asylum was responsible for the look of the project, and the right thing to do would have been to at least give them a shot at the bigger budget version. Of course, as LBL points out on their blog, they own the entire concept and both of its executions. Asylum’s hurt doesn’t come from business contracts, though; it comes from what they feel are ethical obligations.
And there’s the rub: Agencies are often justified — from a purely business point-of-view — in doing what they did with Asylum. But when they carry out their actions with impunity, they can come across as bullies.
The agency/vendor relationship is a strange one. Agencies have the ultimate power, insofar as they write the checks and manage the client. Yet vendors have power, too: the power of creation. Many agencies have attempted to cobble together in-house prodcos and studios, and nearly all of them have failed. It’s harder than it looks to run a studio, especially from within a massive corporation owned by an even larger holding company with thousands of shareholders.
So vendors are needed by agencies and vice versa. The difference? There are, in the eyes of agencies, countless vendors to choose from. They’re interchangeable. Expendable, even. That’s as true at “cheaper end of the spectrum” as it is at the expensive end.
The price for Asylum’s protest is yet to be determined, but you can be sure Leo Burnett London won’t suffer much from it.
What do you think?
There’s much, much more to be said on this general topic. What’s your take?
Terry Crews makes Muscle Music for Old Spice
Style Frames NY announces lineup
Team Fortress 2: Meet the Pyro
Valve’s latest promo for Team Fortress 2 proves that sometimes you just need to shift your perspective and voila! — the world is a magical place.
“Meet the Pyro” is part of the long-running Meet the Team video series that introduces gamers to each of the Team Fortress characters. The Pyro was the only character who didn’t have his own video. Until now.
This project was created with Valve’s Source Filmmaker:
EXCLUSIVE: Making of King and Country’s Motel 6 “Metamorphosis”
When King and Country’s Motel 6 “Metamorphosis” spot hit the web a while back (above), it made a big splash. With nearly 1,400 likes on Vimeo, it put King and Country in the spotlight (again) of our little community. They were kind enough to share some exclusive making of action with Motionographer and answer a few questions for us.
Making of “Metamorphosis”
From the creative and technical standpoints, what were the most challenging aspects of this project?
RICK GLEDHILL (K&C DIRECTOR):
Stardust relaunches with a clean new presence and loads of work in their folio.
Imaginary Forces – God of War: Ascension trailer
Coca-Cola “Spirit of the Euro”
In “Spirit of the Euro,” director Carlos Lascano and Bent Image Lab crafted a madcap romp through a cast of zany characters for Coke and agency Santo.
Carlos explains one of the challenges in producing the spot:
Some technical details from Bent Image Lab:
See more making of details here.
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The Line pull together an impressive team to bring us an eerie and beautifully crafted tale of misadventure.
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Epic new reel from Digic Pictures.
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