The Rube Goldberg machine is a reoccurring gimmick in advertising, but before anyone complains about having “seen it before”, take a look at 1st Ave Machine‘s approach for Panera. The circular loop marries conceptually with the daily bakery cycle. There’s beautiful design and craftsmanship throughout the varied kinetic elements. The camera cuts close on details and back wide again rather than restricting itself to the typical “all-in-one-take” approach. They make a very complicated process look effortless.
The concept behind the videos was to show the time 11:11, at different places in the world. Night time in NYC. Sunrise in Africa. Coffee & Toast in Melbourne. Catching the subway in Tokyo. The last one, titled Home, was meant to be a nostalgic piece, to evoke that feeling of wonder we all use to have as children, before life started and got in the way.
Also fun is Morris’s collaboration with Casey Raymond for DJ Shadow’s Scale It Back.
You’re in the midst of production — the style frames you designed were approved, the work-in-progress animations you’ve sent along to the client were received well, and you’re rapidly approaching the deadline. You’re really happy with how the job looks, and everything is working smoothly. The client is happy, too. This will be a great piece for your portfolio!
But what happens when your client doesn’t want you to use the finished work in your portfolio?
Like the work he directed for Tron, Munkowitz’s design for Oblivion is brimming with details. Munkowitz and his team oversaw the production of assets for scores of contexts, including an interactive light table, cockpit elements for the “Bubbleship” and HUD elements for various equipment and weapons in the film.