Warning: Extreme gore and violence. Content may not be suitable for all audiences.
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.
UPDATE
Nathan Love graciously chatted with us about this project, sharing their process imagery and delving deep into the details. Check it out.
Each year, 20 video artists create 20 wild, whimsical, and unconventional machines that solve environmental issues. These videos reject the status quo, explore crazy ideas, and blast beyond boundaries.
The latest two films are Recycle Invaders, directed by Thiago Maia, and The Crown Jewel, directed by Motionographer’s own Greg Herman and Babe Baker. Head over to the CYW 20/20 page to check them out, along with the other films released so far.
Want to participate? For information on how to submit a video contact Julien Vallée at video@challengeyourworld.com.
A while back, we made a post about the Bonaroo line-up animation, the basic concept of which was taken from Javan Ivey’s My Paper Mind. Despite not being involved with the Bonaroo project, Javan was honored to have his work sampled and taken further. In his words: “It looks great. I mean, I’m kinda bummed I wasn’t invited to the party, but I really enjoy seeing what they’ve done.”
The ensuing Motionographer comments raised questions about involving the originators of a particular technique in commercial applications of that technique. People wondered why Javan wasn’t brought on as a collaborator or consultant by Ghost Robot (who had, it turns out, contacted Javan about the Bonaroo project).
A couple days before the awards opening was released, we saw an engaging experimental film created by Parson’s student Varathit “Tu” Uthaisri. Surface bore an uncanny resemblance to the Favorite Color project, and the inevitable cries of “rip-off” came from some of us here at Motionographer HQ (me included).
But then we looked closer, and we discovered that Tu was actually listed as an art director on the Favorite Color project.
The latest short film from Directing-duo, Terri Timely (Ian Kibbey and Corey Creasey), is a portrait of two brother’s and their surreal experiences as they explore their Synesthesia.
Synethesia (the ability associate sounds with tastes, colors, letters, numbers or even people) is a phenomenon that easily sets the stage for a visually rich piece. However, it’s Terri’s refined storytelling abilities and aesthetic that really make this piece stand out for me.
Terri Timely’s growing body of work creates an intimate portraiture of humanity. They also posses an impressionistic disconnect that seems to thrust them into a realm of hyper-reality and oftentimes parody. This is in-part to Timely’s acute sensibilities in art direction, painterly cinematography and appropriate use of effects (both in and out of camera) to create their worlds. From there, their observation for detail — both in characters and subtle visual elements — makes their work the immersive experience that it is.
Speaking of POV’s and interesting twists — Minneapolis’ design/animation powerhouse, Make, goes all out in almost every medium for their new Palm Springs Short Fest Program Opener.
A seemingly happy couple is doing everything in their grasp to have a moment of peace when we quickly realize that they are on set and about to be transformed into a barrage of animated likenesses.
The characters are willed by the indecisive hand of their director, who seamlessly shifts them from worlds of live-action, 3d, 2d, cel and claymation. This gets very messy for all involved, resulting in a stylistic mash-up. This piece’s flawless execution and transitions push it the next level.
Although some of the compositing doesn’t quite hold up throughout, there are still some great moments. I see a pretty wide viral appeal in the life of this piece with definite YouTube responses in the very near future. Keep your eyes out for the first agency to repeat this one as well…
It’s with great pleasure that I share another batch of films created for the F5 RE:PLAY Film Festival. This time around, we’re proud to present work from Sehsucht, Crush and Bearfight. Enjoy!
Emilio Gomariz, a Madrid-based art director, created and colored 22,655 empty folders in OS X to create an engaging type-based animation.
This video adds to the tradition of using the OS and/or software applications as media for animation. For other works in the same spirit, continue past the jump.
Imaginary Forces got inside the heads of the killer cyborgs in Warner Bros’ Terminator Salvation to develop “machine vision,” making their contribution to the fascinating field of screen design.
Check it out, along with a making-of video and some great screen design work from others. Read on…
2nd-year Gobelins students created five jaw-dropping shorts to introduce each day of screenings at this year’s Annecy festival. All of the films except Jelly Sunday are presented in the YouTube montage above. You can check out each film individually here:
According to F/Nazca and Prodigo Filmes, peeing in the shower can save up to 4.380 liters of water a year and help save Brazil’s Atlantic rainforest. Lovely.
Brand New School takes a break from summer vacation, and hits the books early with two new spots for HP Back to School. In Maintain and Loud, BNS continues the all-popular aesthetic of bubbly notebook graphics; bursting across the screen in a percolating doodle-scape of school house rockin’ eye-candy.
West coast animator, and bad ass extraordinaire Cameron Fielding has a take-no-prisoners style of animation. With enough notches in his belt to call DreamWorks his home, Fielding gets some serious street cred by slicing and dicing an animation reel that’s electrifying, and at times, cute.
Forget the Film, Watch the Titles interviews Karin Fong about her recent main title and the making of “machine vision” for Terminator Salvation, her animated title sequence for The Pink Panther 2, and her favorite title sequences.
Flaunting a magnetic portfolio that’s chock-full of slick and polished works, London-based Carlo De Agostini flexes his directorial muscle to a swooning freelance market.
