View allAll Photos Tagged Graphical,
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
“The dark horse in graphical input is the human finger”
Being Digital (1995) by Nicholas Negroponte (p.131)
Background CC image courtesy of
www.flickr.com/photos/monsieurlam/634568128. This citation appears on the image.
View the interactive gallery here www.will-lion.com/digitalbites
HemeshGui is a graphical user interface I made for the excellent Hemesh library by Frederik Vanhoutte. HemeshGui can render shapes directly in Sunflow via Christopher Warnow's SunflowApiApi. These are some of the first things I made with it! ;-)
Blogpost: CreativeApplications
Source Code: Google Code
Chinatown is a Chinese translation of the trademarks in a graphical way. It’s a carefully arranged series of artworks showcasing 20 well-known western brand logos with maintained visual and narrative continuity.
Chinatown reflects our branded world of the near future through Chinese letters with the classical neon sign style of China. It uses basic words for translation, such as “Caramel Macchiato” for “Starbucks” in order to maintain the visual continuity. By arranging the words this way, Chinatown pushes viewers to ask themselves what it means to see, hear, and become fully aware. Chinatown also demonstrates our strangeness to 1,35 billion people in the world, when you can’t read Chinese.
All of the brand logos are converted to neon style spot colours and line-based variations. Indeed, neon lights are not used as a medium but as a cultural symbol, which represent the aesthetic codes of China.
© 2012 / 2014
Here I create implication in graphical art by presenting a beautiful creature:) against a grubby setting with words strategically placed all captured digitally, darkened then set within red matted bordering. The effect is completely secondary and so the image engages the subconscious completely bypassing ones conservatism erroneously corrupting the conscious moment from inside out.
To craft manufacturing strategy and policy, it is important to understand how different manufacturing industries work--what drives success, what conditions are needed, where they need to locate. In our new MGI report Manufacturing the Future bit.ly/QpiKHN, we break manufacturing into five major groups. These groups share characteristics such as labor or R&D intensity or need for low-cost transportation or need to locate near particular resources or markets. We call the largest group global innovation for local markets. It includes autos, chemicals, and pharmaceuticals. What these industries have in common includes heavy R&D intensity and a need to locate in or near end-user markets because of the bulk of their products and--in autos and pharmaceuticals, especially--the need to conform to local standards and regulations.
Yahoo! and Maxis Further Partnership to Enhance Consumer’s Mobile Experience by Delivering the First Highly Relevant and Engaging Mobile Advertising In Malaysia
Yahoo! Becomes Exclusive Advertising Partner for Maxis’ Mobile Internet Service
KUALA LUMPUR, June 17, 2008 – Yahoo! today announced a strategic mobile advertising partnership with Maxis Communications Berhad (Maxis), Malaysia’s leading mobile operator. In this partnership deal, Maxis is set to carry a variety of innovative graphical advertisements on its wap portal - The Maxis WAP Portal, that is exclusively sold and served by Yahoo!
Today’s announcement builds on continued collaborations between Maxis and Yahoo! to develop and enhance the mobile Internet experience. In June last year, the two companies announced and have subsequently launched, the industry leading mobile search experience, Yahoo! oneSearch on the Maxis WAP Portal, providing a search experience that delivers instant answers and relevant information to consumers without having to scroll through a series of Web links.
Mobile advertising is revolutionizing the market by allowing advertisers to deliver highly targeted messaging to consumers on mobile devices, and providing the opportunity to adopt unique and innovative marketing campaigns through mobile graphical advertising.
As mobile Internet pioneers, Yahoo! and Maxis will combine their expertise in the industry and knowledge of consumer habits, enabling leading brands to offer consumers targeted advertising specifically created for the mobile environment. Mobile advertising allows consumers to interact and engage directly with the unique marketing opportunities that mobile phones provide, and allows advertisers to deliver relevant information to a highly targeted and engaged demographic regardless of whether the consumer is in the home, office, or on the go. Maxis and Yahoo! intend to roll out the first mobile advertisements on The Maxis WAP Portal in the coming months.
The Maxis WAP Portal records an average of 20 million hits per month and offers over 10 million Maxis customers the largest catalogue of content-rich data services in Malaysia. Maxis customers have instant access to news, information, entertainment and access to mobile internet services on the Maxis WAP Portal.
"The mobile phone is poised to be the new media or seventh screen in advertising terms for the simple reason that it is the one truly personal media. Maxis, with our the largest subscriber base and the highest data usage in the country, is in the best position to give Malaysian advertisers the mass market base they desire,” said Kugan Thirunavakarasu, Maxis Head of Product Development and Infotainment.
“Our partnership with Yahoo!, the leader in mobile adverting, shows our commitment to enhancing our strategy and harnessing the power of mobile advertising to create new revenue models.” he added.
"The partnership with Maxis demonstrates Yahoo!'s continued focus on becoming the must-buy opportunity for advertisers and further extends our leadership in graphical advertising across mobile devices," said David Ko, vice president and managing director of Connected Life Asia, Yahoo! "Advertisers and our mobile operator partners recognize the value and unique abilities of mobile advertising and are positioning it as a core part of their digital campaigns. We are excited to work with Maxis to create superior experiences that deliver great value to advertisers and mobile consumers alike."
Yahoo! is focused on creating the monetization engine for the mobile Internet: enabling publishers to monetize their services, advertisers to reach targeted audiences at large scale and with impact, and by providing consumers with enhanced mobile experiences.
[ed. note: i suggest reordering the above... i.e., enable advertisers first, consumers second, then publishers]
About the Maxis Group
The Maxis Group is the region’s emerging mobile telecommunications Group serving 20 million customers as at end March 2008. The Group has a 5,000 strong workforce and has operations in Malaysia, India through subsidiary, Aircel Limited, and Indonesia through PT Natrindo Telepon Seluler.
Its Malaysian operations, Maxis Communications Berhad (“Maxis”) is the leading mobile communications service provider in Malaysia with the largest subscriber base of 10 million as at end March 2008. Maxis operates mobile telecommunications and fixed line networks nationwide as well as international gateways. Maxis’ mobile services are offered under the Maxis brand for postpaid and the Hotlink brand for prepaid. Maxis launched its 3G service - Maxis 3G - in July 2005. In September 2006, Maxis became the world’s first operator to use HSDPA (a high speed upgrade of the 3G network) to roll out residential broadband services.
Since it began operations in 1995, Maxis has won numerous awards. Maxis was named Malaysia’s “Most Admired Company” by the Asia Wall Street Journal in 2006. In June 2007, leading regional industry journal Asian Mobile News named Maxis as “Asian Mobile Operator of the Year” and “Malaysian Mobile Operator of the Year”. Most recently, the company was recognised as “Malaysia’s Service Provider of the Year” by Frost & Sullivan at the 2008 Malaysia Telecoms Awards due to its clear demonstration of leadership in business performance, brand value, sustained service excellence, network quality and product innovation, further reinforcing the Maxis Group’s mission to be a Regional Communications Leader of Choice.
About Yahoo!
Yahoo! Inc. is a leading global Internet brand and one of the most trafficked Internet destinations worldwide. Yahoo! is focused on powering its communities of users, advertisers, publishers, and developers by creating indispensable experiences built on trust. Yahoo! is headquartered in Sunnyvale, California.
For more information on Yahoo! Mobile please visit mobile.yahoo.com/
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
Pop Art style Graphical Portrait, selfie, created by DGFX from scratch. Drawn using portrait images as reference, taken earlier this year using Nikon D7100
Multi colour graphic. It takes two photo editing programs and about 2 hours to do, i multi layer and multi expose the image and redraw it adding colour, swapping out the canvas a few times, just working with blocks of colour.
Crass Nagasaki Nightmare / Big A Little A.
I've been doing a little research into the graphical representation of "Geekiness" and I though I'd share the results here:
For "Geek Icons" 15 of the 68 images that fit in on my super-big-work-screen included glasses = 22%.
Interestingly when the search is defined as “Nerd Icon” (see screenshot at: www.flickr.com/photos/israeli-art/5256842619) 36 of the 76 images displayed in the same space have glasses in them = 47%. Moreover Google served up “Nerd glasses icon” as a related search.
In both cases glasses were the single largest commonality between all the results served up.
Graphical display of the satellite positioning system in a bus of the public transport with on-board computer and ticket-printer 'ATRON FR touch'. The distance between the bus stops and the remaining distance to the next stop is shown in meters. The DOP-value indicates the quality of the existing satellite constellation. Altstätten, Switzerland, Apr 18, 2010.
I'm playing with a new theme for my blog, and wanted a better way to let people quickly scan for how many posts I had. So I used a background image of black, offset with background-position in css to let a graph "show through" to show the count.
I've also posted the PHP and CSS code for WordPress to make this work: http://gist.github.com/304290
It looks better larger: http://www.flickr.com/photos/artlung/4356884087/sizes/o/
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
Unplug - balance - reconnect. Unter diesem Motto stand die erste "Reconnect" - realisiert von Offtime und simyo. Die Besucher der re:publica 14 konnten sich zu unserer hypervernetzten Welt austauschen, über die Vorteile vom gelegentlichem Abschalten sprechen, und uns und der Netzcommunity ihre Gedanken zum Thema on/off-line mitteilen. Diese hielten zwei Tage lang life in einem graphical recording fest!
Videodoku: www.youtube.com/watch?v=Ugn0pil2Ti8
Unplug - balance - reconnect. Unter diesem Motto stand die erste "Reconnect" - realisiert von Offtime und simyo. Die Besucher der re:publica 14 konnten sich zu unserer hypervernetzten Welt austauschen, über die Vorteile vom gelegentlichem Abschalten sprechen, und uns und der Netzcommunity ihre Gedanken zum Thema on/off-line mitteilen. Diese hielten zwei Tage lang life in einem graphical recording fest!
Videodoku: www.youtube.com/watch?v=Ugn0pil2Ti8
Basel, Unfinished, 2mm
Fabricated with laser cut,
manual assembly
Form derived from 2D graphical notation
Unplug - balance - reconnect. Unter diesem Motto stand die erste "Reconnect" - realisiert von Offtime und simyo. Die Besucher der re:publica 14 konnten sich zu unserer hypervernetzten Welt austauschen, über die Vorteile vom gelegentlichem Abschalten sprechen, und uns und der Netzcommunity ihre Gedanken zum Thema on/off-line mitteilen. Diese hielten zwei Tage lang life in einem graphical recording fest!
Videodoku: www.youtube.com/watch?v=Ugn0pil2Ti8
„FLUIDIC – Sculpture in Motion“
A vivid organic art experience
Between April 9 and 14, 2013 the art installation „FLUIDIC – Sculpture In Motion“ is being displayed in the Temporary Museum for New Design in Milan. The installation was designed and produced by Berlin based design studio WHITEvoid for Hyundai’s Advanced Design Center.
Combining a water pond, a physical point cloud formed by 12,000 illuminated spheres, 8 high-speed laser projectors and the interactions of its visitors, Hyundai's design philosophy "Fluidic Sculpture" is brought to life and transformed into a vivid art experience.
Shaped by visitor interaction, randomly distributed molecules begin to swarm – aggregating and accumulating. They are constantly in motion, reacting to the people who seek to engage. Ever-changing dynamic light sculptures are created, conveying the essence of Hyundais design language, the inspirational role played by nature and the ability to continuously adapt and evolve.
Due to a complex computer algorithm the particles of the cloud seem randomly arranged. But the algorithm takes into account the positions and projection angles of 8 high-speed laser projectors suspended around the artwork. This enables the lasers to hit and light up all spheres without any occlusion even deep inside the arrangement.
The lit spheres finally form three-dimensional graphical compositions without any sweet or blind spots. Keeping the same density and intensity the FLUIDIC graphics enable their viewers to observe and interact simultaneously from every point of view. To analyze the positions of the visitors, their posture and gestures the installation incorporates multiple 3D camera tracking systems. FLUIDIC presents a form that is both flexible and solid, a flow with a distinctive profile but dynamic motion.
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
Unplug - balance - reconnect. Unter diesem Motto stand die erste "Reconnect" - realisiert von Offtime und simyo. Die Besucher der re:publica 14 konnten sich zu unserer hypervernetzten Welt austauschen, über die Vorteile vom gelegentlichem Abschalten sprechen, und uns und der Netzcommunity ihre Gedanken zum Thema on/off-line mitteilen. Diese hielten zwei Tage lang life in einem graphical recording fest!
Videodoku: www.youtube.com/watch?v=Ugn0pil2Ti8
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
Yahoo! and Maxis Further Partnership to Enhance Consumer’s Mobile Experience by Delivering the First Highly Relevant and Engaging Mobile Advertising In Malaysia
Yahoo! Becomes Exclusive Advertising Partner for Maxis’ Mobile Internet Service
KUALA LUMPUR, June 17, 2008 – Yahoo! today announced a strategic mobile advertising partnership with Maxis Communications Berhad (Maxis), Malaysia’s leading mobile operator. In this partnership deal, Maxis is set to carry a variety of innovative graphical advertisements on its wap portal - The Maxis WAP Portal, that is exclusively sold and served by Yahoo!
Today’s announcement builds on continued collaborations between Maxis and Yahoo! to develop and enhance the mobile Internet experience. In June last year, the two companies announced and have subsequently launched, the industry leading mobile search experience, Yahoo! oneSearch on the Maxis WAP Portal, providing a search experience that delivers instant answers and relevant information to consumers without having to scroll through a series of Web links.
Mobile advertising is revolutionizing the market by allowing advertisers to deliver highly targeted messaging to consumers on mobile devices, and providing the opportunity to adopt unique and innovative marketing campaigns through mobile graphical advertising.
As mobile Internet pioneers, Yahoo! and Maxis will combine their expertise in the industry and knowledge of consumer habits, enabling leading brands to offer consumers targeted advertising specifically created for the mobile environment. Mobile advertising allows consumers to interact and engage directly with the unique marketing opportunities that mobile phones provide, and allows advertisers to deliver relevant information to a highly targeted and engaged demographic regardless of whether the consumer is in the home, office, or on the go. Maxis and Yahoo! intend to roll out the first mobile advertisements on The Maxis WAP Portal in the coming months.
The Maxis WAP Portal records an average of 20 million hits per month and offers over 10 million Maxis customers the largest catalogue of content-rich data services in Malaysia. Maxis customers have instant access to news, information, entertainment and access to mobile internet services on the Maxis WAP Portal.
"The mobile phone is poised to be the new media or seventh screen in advertising terms for the simple reason that it is the one truly personal media. Maxis, with our the largest subscriber base and the highest data usage in the country, is in the best position to give Malaysian advertisers the mass market base they desire,” said Kugan Thirunavakarasu, Maxis Head of Product Development and Infotainment.
“Our partnership with Yahoo!, the leader in mobile adverting, shows our commitment to enhancing our strategy and harnessing the power of mobile advertising to create new revenue models.” he added.
"The partnership with Maxis demonstrates Yahoo!'s continued focus on becoming the must-buy opportunity for advertisers and further extends our leadership in graphical advertising across mobile devices," said David Ko, vice president and managing director of Connected Life Asia, Yahoo! "Advertisers and our mobile operator partners recognize the value and unique abilities of mobile advertising and are positioning it as a core part of their digital campaigns. We are excited to work with Maxis to create superior experiences that deliver great value to advertisers and mobile consumers alike."
Yahoo! is focused on creating the monetization engine for the mobile Internet: enabling publishers to monetize their services, advertisers to reach targeted audiences at large scale and with impact, and by providing consumers with enhanced mobile experiences.
[ed. note: i suggest reordering the above... i.e., enable advertisers first, consumers second, then publishers]
About the Maxis Group
The Maxis Group is the region’s emerging mobile telecommunications Group serving 20 million customers as at end March 2008. The Group has a 5,000 strong workforce and has operations in Malaysia, India through subsidiary, Aircel Limited, and Indonesia through PT Natrindo Telepon Seluler.
Its Malaysian operations, Maxis Communications Berhad (“Maxis”) is the leading mobile communications service provider in Malaysia with the largest subscriber base of 10 million as at end March 2008. Maxis operates mobile telecommunications and fixed line networks nationwide as well as international gateways. Maxis’ mobile services are offered under the Maxis brand for postpaid and the Hotlink brand for prepaid. Maxis launched its 3G service - Maxis 3G - in July 2005. In September 2006, Maxis became the world’s first operator to use HSDPA (a high speed upgrade of the 3G network) to roll out residential broadband services.
Since it began operations in 1995, Maxis has won numerous awards. Maxis was named Malaysia’s “Most Admired Company” by the Asia Wall Street Journal in 2006. In June 2007, leading regional industry journal Asian Mobile News named Maxis as “Asian Mobile Operator of the Year” and “Malaysian Mobile Operator of the Year”. Most recently, the company was recognised as “Malaysia’s Service Provider of the Year” by Frost & Sullivan at the 2008 Malaysia Telecoms Awards due to its clear demonstration of leadership in business performance, brand value, sustained service excellence, network quality and product innovation, further reinforcing the Maxis Group’s mission to be a Regional Communications Leader of Choice.
About Yahoo!
Yahoo! Inc. is a leading global Internet brand and one of the most trafficked Internet destinations worldwide. Yahoo! is focused on powering its communities of users, advertisers, publishers, and developers by creating indispensable experiences built on trust. Yahoo! is headquartered in Sunnyvale, California.
For more information on Yahoo! Mobile please visit mobile.yahoo.com/
Unplug - balance - reconnect. Unter diesem Motto stand die erste "Reconnect" - realisiert von Offtime und simyo. Die Besucher der re:publica 14 konnten sich zu unserer hypervernetzten Welt austauschen, über die Vorteile vom gelegentlichem Abschalten sprechen, und uns und der Netzcommunity ihre Gedanken zum Thema on/off-line mitteilen. Diese hielten zwei Tage lang life in einem graphical recording fest!
Videodoku: www.youtube.com/watch?v=Ugn0pil2Ti8
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
The Amalgamated Society of Lithographic Printers (ASLP) was formed in 1880 from various lithographic printer’s associations across Britain and Ireland. In 1964 they had around 11,000 members throughout 46 branches that included the Republic of Ireland. The ASLP remained an independent union until they merged with the National Graphical Association (NGA) in 1969. ASLP members were kept up-to-date on union matters by mean of quarterly reports and half-yearly reports (1880-1948) and their in-house magazine ‘The Lithographer’ (1949-1968). The ‘Lithographic Gazette’ was a short lived publication lasting only three years (1902-1905).
During their early years, the ASLP were actively involved in social reforms against the exploitation and use of child labour on printing presses as well as improvements in working conditions. The ASLP also ran numerous technical educational courses to raise standards amongst apprentices within the lithographic trade.
This badge depicts the ASLP crest with the Latin motto SAXA LOQUONTUR which roughly translates the ‘stone talks’. This would be a reference to the use of stone lithography whereby the artist draws a waxy image onto a fine grained lithographic limestone for the purposes of producing printed images.
.
References:
www.unitetheunion.org/about_us/history/a_pictorial_histor... (Short note on the ASLP including badge pictures).
www2.warwick.ac.uk/services/library/mrc/subject_guides/fa... (The NGA was formed in 1964 by the merger of two long-term rival unions, the Typographical Association and the London Typographical Society. Over the years, it was joined by other smaller printer’s craft associations that included artists, designers, engravers, etc. The NGA and the Society of Graphical & Allied Trades merged in 1990 to form the Graphical, Paper & Media Union (GPMU).)
www.unionancestors.co.uk/Images/AmicusFamTree.pdf (British union family trees including that of the print related unions, pages 9 & 10).
entertainment.howstuffworks.com/arts/artwork/stone-lithog... (Stone lithography and how it works. Stone lithography was invented c.1798 and was very popular during the 19th century, especially the 1830’s through to the 1860’s.)
en.wikipedia.org/wiki/Lithographic_Limestone (Wikipedia article on lithographic limestone).
.
Enamels: 2 (blue & red).
Finish: Chrome.
Material: Brass.
Fixer: Pin.
Size: 7/8” across x 1 1/16” down (about 23mm x 28mm)
Process: Die stamped.
Maker: F&S (Fattorini & Sons Ltd of Birmingham).
.
Thank you for reading.
Stuart.
Unplug - balance - reconnect. Unter diesem Motto stand die erste "Reconnect" - realisiert von Offtime und simyo. Die Besucher der re:publica 14 konnten sich zu unserer hypervernetzten Welt austauschen, über die Vorteile vom gelegentlichem Abschalten sprechen, und uns und der Netzcommunity ihre Gedanken zum Thema on/off-line mitteilen. Diese hielten zwei Tage lang life in einem graphical recording fest!
Videodoku: www.youtube.com/watch?v=Ugn0pil2Ti8
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
Pop Art style Graphical Portrait, Frankenstein's Monster, created by DGFX from scratch. Drawn using portrait images as reference
Multi colour graphic. It takes two photo editing programs and about 2 hours to do, i multi layer and multi expose the image and redraw it adding colour, swapping out the canvas a few times, just working with blocks of colour.
Zork: Grand Inquisitor:
In this third graphical Zork adventure, you are a vacuum cleaner salesman in the town of Port Frobozz, which is under the domination of the Grand Inquisitor, and you are about to miss curfew. Much of the humor in this game comes from loudspeaker announcements about the rules and policies of the Grand Inquisitor, who has banned magic.
Read more at www.digitalgamemuseum.org/games/zork-grand-inquisitor
Grim Fandango:
Designer Tim Schafer (Day of the Tentacle, Full Throttle, Psychonauts) took his inspiration for the characters and the plot from film noir classics, including The Maltese Falcon, Key Largo, and Casablanca. The Mexican Day of the Dead festival inspired its art style, with cheerful calacas (skeletons) as the characters. The developers used the new GrimE engine, built using the scripting language Lua and one of the first uses of Lua in game development.
Grim Fandango was a critical success, receiving many game of the year awards. It was praised for the outstanding art direction, over-all design, and music, although some complained that the interface had too steep a learning curve. LucasArts claimed that ""Grim Fandango met domestic expectations and exceeded them worldwide," but the game is usually considered a commercial failure.
Read more at www.digitalgamemuseum.org/games/grim-fandango
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
Ex-engineers turned coffee roasters Phil and Sebastian use temperature probes to measure coffee bean surface temperature and ambient roasting temperature to track and control small batch roasting to produced their ideal light roast.
For a science nerd, this part was a fun watch. Also that the roasting engineer (?) in charge had a set up that almost made him look like a DJ.
Party time!
Phil & Sebastian Coffee Roasters
Office/Roasterie
#23, 2701 16th Street SE
Calgary, AB
(403) 261.1885
info@philsebastian.com
Twitter: @philandseb
Owners: Phil Robertson and Sebastian Sztabzyb
Every other day and I do mean every other day, a so-called tech reporter writes a predictable article about how Apple is screwing themselves out of market share by not being "open." You probably know where this is going. Invariably they compare the current iPhone versus Android controversy to the Mac versus Windows drama that played out about twenty-six years ago.
Their wise argument usually sounds something like this:
"Back in 1984, Apple leapt way ahead in the PC market when it released the original Macintosh, the first popular computer to employ a graphical user interface. It took Microsoft six years to come up with something that could compare to the Mac, in the form of Windows 3.0. Six years! For all that time, Apple had the market to itself. Nevertheless, Windows took over the world and now holds more than 90 percent market share, while Apple squeaks by with less than 5 percent worldwide."
Actually those are the exact words used in a Newsweek column by the link baiting Dan Lyons, who ironically, masquerades as a parody of Steve Jobs in his popular blog. His words will sound ironic in a minute, so just hear me out.
On the surface, the comparison to Windows sounds not only prophetic, but if you believe the angst of the tech media at large, absolutely karmic. After all, Apple has been painted as the modern day Anti-Christ for their oppressive censorship of the App Store.
www.esarcasm.com/4212/apple-china-to-collectively-oppress...
Who better to bring us out of the darkness of iTunes than the "do-no-evil" Google? It sounds only natural, right?
Well, not exactly. There are at least three good reasons why the current situation with the iPhone and Android is nothing like 1984.
(1) Windows licensing is much more restrictive than Android licensing.
Much has been made of Google's licensing of Android to various cell phone manufacturers, inferring with it the promise of Microsoft-style world domination. Of course, there is a fundamental difference in the approach of Google and Microsoft. When you buy a Dell, you don't get a Dell user interface. You get Windows. When you buy a HP, you don't get a HP version of Windows, you get Windows. While Microsoft's Windows license is open in the sense that it doesn't restrict the installation of Windows on hardware, it does prevent PC manufacturers from modifying the underlying Windows foundation, and that restriction has had a positive affect on Windows app development.
In other words, when you code for Windows you know that the OS is going to be the same on all computers. When you code for Android, there is a different version for every phone (Android 1.5, 1.6 and 2.0), which means that when you write an app, you might have to debug for 3 different platforms. And even worse, Android is featured on different phone hardware and different cell phone carriers, who all dictate different features for their phones and want their phones integrated with their native services. Some companies, like HTC and Motorola, have even modified the user interface, firmware and internal ROMs, making Android compatibility a mess of epic proportions.
As our illustrious Dan Lyons admitted under the guise of his alter ego:
"Dear friends, this is only going to get worse, not better. Think about it. Every handset maker wants its device to be different. And special. So they intentionally tweak the OS to give themselves what they think of as an “advantage,” when really it’s nothing of the sort, because all it does is prevent ISVs from writing apps for them. Even if the handset makers weren’t totally short-sighted and evil, there’s the competency issue."
This brings me to another problem: what happens when all the Android partners start to compete with each other, if they aren't already? What company is willing to put money and development time into a unique app, only to have it stolen by another Android partner? Why insure compatibility when you can just as well make a modification that ensures the app only works on your Android phone? The implications of the "open" nature of Android is actually a hindrance to vibrant app development.
Currently, the App Store is the de facto standard for smartphones, whether the tech media wants to admit it or not. That may change in the coming future, assuming Google gets their act together, but developers tend to pick what they like at an early stage and stick with it, especially if they're making money. And as I've argued in the past, Android's ecosystem isn't exactly turning into Walmart right now.
www.flickr.com/photos/pacman3000/4127815088/
(2) Android has no equivalent of iTunes.
One of the most fundamental issues that tech reporters often leave out of their discussions about Windows is the reality of the situation with the Mac back in 1984. First of all, the Mac never had anything approaching the market share of the iPhone, which is currently at 17 percent worldwide. Furthermore, the forerunner of the Mac, the LISA, which featured the original graphical user interface, was an outright failure.
MS-DOS, the command line forerunner to Windows is actually the platform that garnered much of the original market share credited to Microsoft. The first two versions of Windows failed in the market. It was only after the release of Windows 3.0, with its native ability to run legacy DOS programs, that Windows became popular. In much the same way that the success of Windows was predicated upon the early success of MS-DOS, so it is with the iPhone.
In other words, iTunes is to the App Store as MS-DOS is to Windows.
(3) The iPhone is a premium phone without the premium pricing.
I think this doesn't need too much explanation, but the original Mac was sorta pricey. In fact, it was so pricey that Steve Jobs himself was pissed about it! If you know anything about the history of Apple, it was John Sculley, the Pepsi marketing genius that Jobs lured to the position of CEO, who jacked up the price of the original Mac. Apparently Sculley wanted to recoup the costs of an expensive marketing campaign (yes, that expensive 1.5 million 1984 Superbowl commercial). As a result, the Mac was relegated to niche status.*
This, however, isn't the case with the iPhone. Apple has vigorously lowered the price of the phone since the beginning, even going so far as to sell it at Walmart.
www.businessinsider.com/2009/2/99-iphone-coming-this-summer
So just to recap, I've established why Android licensing is nothing like Windows licensing. If anything, it has more in common with the platform on which it is based, Linux. Apple on the other hand, has broad appeal, thanks to the early success of iTunes (which resembles the DOS model), and the standardization of mobile apps because of the App Store (which resembles the eventual ascendance of Windows). And the iPhone, like early PCs, is reasonably priced.
So why is Android being compared to Windows again?
*Note: Mac sales were later revitalized by the introduction of the LaserWriter and Pagemaker, but in comparison to the mass adoption of DOS, that is a minor caveat in the scheme of things.
Related Links:
www.wired.com/gadgetlab/2009/11/android-fragmentation/
www.fakesteve.net/2009/11/developers-only-now-realizing-t...
www.russellbeattie.com/blog/android-is-splintering-just-n...
www.wirelessweek.com/Articles/2009/12/Android-Fragmentation/
HemeshGui is a graphical user interface I made for the excellent Hemesh library by Frederik Vanhoutte. HemeshGui can render shapes directly in Sunflow via Christopher Warnow's SunflowApiApi. These are some of the first things I made with it! ;-)
Blogpost: CreativeApplications
Source Code: Google Code