Our approach has always been one that embraces collaboration as a fundamental part of what we do.

Over the last ten years we have worked with highly talented individuals, teams and companies from all over the world that help bring our vision to life.

Join the Dots is a celebration of the spirit of collaboration.

A simple idea. A consistent frame for a multitude of work. A single dot, each representing one collaborator, each a connection to another.

Each collaborator is given a template of a dot in a fixed position on an A2 portrait poster. Each interpreted this in their own way.

These are the first 25. There will be 100 in total and be collated into a book and exhibition.

Thanks to all that have contributed so far and for those that are still to come.

tamrac filter case, stuffed with various ND, Pola and gels

ND filters help with shooting areas with people walking through. ( i think photoshop can do this automatically now).

insert slate, used for insert shoots, splinter unit, etc.

More 3D effects, based on the atomic themed cut scene animation in The Big Bang Theory TV series. Music: Antarctica from Vangelis' Portraits.

JL DESIGN再度擔綱第二十六屆金曲獎的視覺統籌，主視覺概念回歸孕育音樂創作的台灣土地，以「台灣源聲帶 Original Soundtrack of Taiwan」為起點，帶領觀眾從大地聲音與自然人文樣貌，喚醒對台灣土地的集體記憶。

Main Visual for the 26th Golden Melody Award Ceremony

JL DESIGN is in charge of the visual direction for the Golden Melody Award Ceremony for a second consecutive year. The main visual concept for the 26th Golden Melody Award Ceremony pays tribute to Taiwan as the source of inspiration for music. Named "Original Soundtrack of Taiwan", the design takes cue from the sight and sound of Taiwan and invokes a collective memory of the land.

片頭配樂選歌：吳蓓雅《荒唐》

配樂歌詞選段：「複製貼上 換個字眼」

入圍影片宣言：到底有媒有真相

片頭配樂選用歌手吳蓓雅《荒唐》 呈現為了追求速度與便利、害怕受傷漫不在乎的荒唐心境，當海報撕開後看見畫面中央雙唇彷彿不斷絮絮叨叨，配樂隨之浮現，以其作為聲音的載體，聲音隨著鏡頭拉近而更加清晰，轉場中加入大量資訊複製、海量轉載的聲音效果，打字、滑鼠、案件等數位電子音效，電視打開、無線電、鍵盤等符號性的聲響，聲音隨著資訊一同移動、流轉。

彷彿現在充斥的行車記錄器、爆料公社、各大論壇轉文，曾幾何時，媒體的內容產製變得如此草率而沒有品質？充滿價值的內容被無數垃圾訊息淹沒，今日最新獨家頭條，說穿了不過也就是網路上隨便一篇網民爆料後複製貼上換個字眼改編。影片以不斷再製、重演，無限複誦、反覆來回的視覺意象，呈現現今台灣媒體亂象，收視率、業配買單的困境，媒體從業人員宛如矩陣困局內的人物，不斷書寫、複製，無限循環下，觀者與媒體只能奮力尋找真實。

插畫家：焯両黃 Julia Yellow

動態設計：Ned Piyadarakorn

Our approach has always been one that embraces collaboration as a fundamental part of what we do.

Over the last ten years we have worked with highly talented individuals, teams and companies from all over the world that help bring our vision to life.

Join the Dots is a celebration of the spirit of collaboration.

A simple idea. A consistent frame for a multitude of work. A single dot, each representing one collaborator, each a connection to another.

Each collaborator is given a template of a dot in a fixed position on an A2 portrait poster. Each interpreted this in their own way.

These are the first 25. There will be 100 in total and be collated into a book and exhibition.

Thanks to all that have contributed so far and for those that are still to come.

most of the blue and green versions are loaned out to friends right now.

Golf tees.

I Stick in these in the ground or grass if i don't have time for a more elaborate tracking setup. they are super neon bright, so i only need the tip to show. easy to key out and big enough for the tracker to track them.

JL DESIGN再度擔綱第二十六屆金曲獎的視覺統籌，主視覺概念回歸孕育音樂創作的台灣土地，以「台灣源聲帶 Original Soundtrack of Taiwan」為起點，帶領觀眾從大地聲音與自然人文樣貌，喚醒對台灣土地的集體記憶。

Main Visual for the 26th Golden Melody Award Ceremony

JL DESIGN is in charge of the visual direction for the Golden Melody Award Ceremony for a second consecutive year. The main visual concept for the 26th Golden Melody Award Ceremony pays tribute to Taiwan as the source of inspiration for music. Named "Original Soundtrack of Taiwan", the design takes cue from the sight and sound of Taiwan and invokes a collective memory of the land.

平面設計 Graphics：顏伯駿

動態設計 Motion：王民賢 Ming-shian Wang

片頭配樂選歌：原子邦妮《折桂令》

配樂歌詞選段：「一直盼 一直盼 一直不停的盼」

入圍影片宣言：流離青年很想家

以原子邦妮《折桂令》作為片頭片尾配樂，刻畫為了夢想與更好的生活在外闖蕩的離人心中無數思念，按下錄音帶開關後動態與音樂流轉，車水馬龍沓雜的聲音、外食的微波爐聲響、車站港口的離別場景音效，異鄉工作的辦公室日常。

入圍影片描摹遠在異鄉的想念千迴百轉，宛如錄音專輯在唱盤上不斷旋轉的意象，影片中的主角在走過無數離別場景，目送家人越來越遠的車站月台、吃不到熟悉家常菜口味的昂貴飯館，日常生活的每個場景，無一不是思念的樂音千迴百轉、盪氣迴腸。不管走了多遠，離別始終都是為了重聚，是為了和心中所愛再次重聚，懷抱著更好的未來、對於更好的生活想像而告別，終會找到回家的路。走過世界，就是回家的路，穿過世界、離開家鄉所愛，是為了回來建造一片真正美好的家園與理想國。

插畫設計：林家棟 Jia Dong Lin

動態設計：何佳珍 Cathy Ho

片頭配樂選歌：夜貓組《驢子》

配樂歌詞選段：「從今天 到昨天 我仔細修改細節」

入圍影片宣言：我的時代，我的路

相較於專輯、歌曲，單曲製作人是所有金曲獎項中近十年出現的獎項，音樂始終有各種形式，載具不斷改變，無論外在形式為何，音樂精神永存，以Leo王x春豔歌曲《驢子》呈現音樂人忠於自我追求的精神，影片中各式各樣的樂器以不同的姿態前進，音樂在影片中有四個不同樂器載體，每一位主角都配備播放器前進，聲音擁有四個不同的音場效果並隨著四位主角移動而變換，以及不同場景的元素音效，鳥類、樹葉散落，其中也加入對話質疑的人聲凸顯他人的碎念與外界的質疑，片尾則以四個播放器共同播放，輕微的時間差與違和感來凸顯走自己的路，不用管別人走了什麼路，敢於在身處的時代追尋自我方向，就是這個時代最美好的樂章。

插畫設計：傅馨逸 Hsinyi Fu

動態設計：二棲設計有限公司 27 Design Co., Ltd.

A motion graphics animation loop I created for Intel Corporation. All motion was done in Adobe After Effects CS4 with help from Trapcode Shine, Particular and Warp. I shot the silhouettes on the Red One camera against a green screen and used Key Light to key them out. The entire loop played for an audience of almost 5000 people at a conference in Las Vegas. It was encoded to a 1920x1080 Animation codec Quicktime movie that was 12GB and played back from a powerful RAID backstage.

View LARGE

The name Nervo comes from the word Nerve, Nerve Cells, Brain Activity, etc. Conceptually the idea for this side was to create a sense of magnification from right (cover) to left (inside page).

The cover was built with bolder iconic and almost artchitectural-like shapes. The middle is made up by more defined figurative elements.

The then enter the last page, which is a microscopic view of some of the elements. Whether that comes across or not, we're not sure, but it was the concept behind the construction of the image.

sound design by Jason Barhouse

license - artgrab.co/animation/philipp.igumnov/2175

tracking marker and miscellaneous, read notes on image.

JL DESIGN再度擔綱第二十六屆金曲獎的視覺統籌，主視覺概念回歸孕育音樂創作的台灣土地，以「台灣源聲帶 Original Soundtrack of Taiwan」為起點，帶領觀眾從大地聲音與自然人文樣貌，喚醒對台灣土地的集體記憶。

Main Visual for the 26th Golden Melody Award Ceremony

JL DESIGN is in charge of the visual direction for the Golden Melody Award Ceremony for a second consecutive year. The main visual concept for the 26th Golden Melody Award Ceremony pays tribute to Taiwan as the source of inspiration for music. Named "Original Soundtrack of Taiwan", the design takes cue from the sight and sound of Taiwan and invokes a collective memory of the land.

JL DESIGN再度擔綱第二十六屆金曲獎的視覺統籌，主視覺概念回歸孕育音樂創作的台灣土地，以「台灣源聲帶 Original Soundtrack of Taiwan」為起點，帶領觀眾從大地聲音與自然人文樣貌，喚醒對台灣土地的集體記憶。

Main Visual for the 26th Golden Melody Award Ceremony

JL DESIGN is in charge of the visual direction for the Golden Melody Award Ceremony for a second consecutive year. The main visual concept for the 26th Golden Melody Award Ceremony pays tribute to Taiwan as the source of inspiration for music. Named "Original Soundtrack of Taiwan", the design takes cue from the sight and sound of Taiwan and invokes a collective memory of the land.

The first episode of my Storage Wars f/x series. The Battle of Hoth is one of my all time fave action sequences in film. I thought it would be be cool to do a geek version of it in full 3D space using computer parts. Enjoy!

片頭配樂選歌：五五身《午後雷雨》

配樂歌詞選段：「再強烈一點強烈一點大聲一點大聲 這就是我 誕生的世界」

入圍影片宣言：改變，就要強烈一點！

片頭配樂選用五五身樂團《午後雷雨》，雷陣雨前的燠熱潮溼，是改變與革命前夕最令人感到窒息的時刻，歷經雷擊暴雨過後，終於又是全新自我。音樂發聲的場域在影片中機器人腦中，透過耳機播放，隨著歌詞越來越強烈。進入隧道後的空間場域音效則以呈現機器人過場為主。

影片描述故事主角追求自我突破、不斷升級的歷練過程，將自我拆解、重組、碰撞、對話，一次循環過後，就又是全新的自己。唯有不斷唱出對於音樂與世界的期待、渴望，錄下每一刻真實的聲量震盪，誠如錄製專輯過程中反覆迴旋來回的嘔心瀝血製作，對作品帶來強烈的震盪改變。

插畫設計：張嘉元 披薩先生 Mr.PIZZA!

動態設計：野人設計 Wild Design

A short photo video.

JL DESIGN再度擔綱第二十六屆金曲獎的視覺統籌，主視覺概念回歸孕育音樂創作的台灣土地，以「台灣源聲帶 Original Soundtrack of Taiwan」為起點，帶領觀眾從大地聲音與自然人文樣貌，喚醒對台灣土地的集體記憶。

Main Visual for the 26th Golden Melody Award Ceremony

JL DESIGN is in charge of the visual direction for the Golden Melody Award Ceremony for a second consecutive year. The main visual concept for the 26th Golden Melody Award Ceremony pays tribute to Taiwan as the source of inspiration for music. Named "Original Soundtrack of Taiwan", the design takes cue from the sight and sound of Taiwan and invokes a collective memory of the land.

JL DESIGN再度擔綱第二十六屆金曲獎的視覺統籌，主視覺概念回歸孕育音樂創作的台灣土地，以「台灣源聲帶 Original Soundtrack of Taiwan」為起點，帶領觀眾從大地聲音與自然人文樣貌，喚醒對台灣土地的集體記憶。

Main Visual for the 26th Golden Melody Award Ceremony

JL DESIGN is in charge of the visual direction for the Golden Melody Award Ceremony for a second consecutive year. The main visual concept for the 26th Golden Melody Award Ceremony pays tribute to Taiwan as the source of inspiration for music. Named "Original Soundtrack of Taiwan", the design takes cue from the sight and sound of Taiwan and invokes a collective memory of the land.

片頭配樂選歌：李英宏《台北直直撞》

配樂歌詞選段：「我直直撞 我直直撞」

入圍影片宣言：衝出困境才有出路

片頭配樂選用李英宏《台北直直撞》刻畫年輕人們在台北的迷茫、未知、勇氣，影片中的機車是音樂的載體，隨著機車的動態創造聲音的流動而忽遠忽近的效果，配樂製作中的爆炸、烈焰都加入類似電玩、數位的模擬音效而非一般的寫實配音，期待為觀眾帶來更加奇幻的體驗：用新世代的想像力，創造新工具，大膽突圍。

台北是所有追夢者的家，每個時代都有無數懷抱夢想的青年們來到這裡追夢，儘管有無數難題，低薪、高房價，缺乏資源，看不見未來的可能，竭盡所有只為在這座城市生存，片中三位主角騎著機車在城市街頭闖蕩，新世代擁有無畏勇氣與全新的工具持續前進，集結資源、累積技能，開創無數可能性，解決眼下問題，為台灣直直撞出新未來。

當22k炸彈落在台北街頭，唯有橫度每個時代的艱困難題，衝出困境，夢想終將會在城市生活裡慢慢開花，迎風搖曳。

插畫設計：角斯 Chiaos

動態設計：混合編碼 MixCode studio

片頭配樂選歌：老王樂隊《補習班門口高掛著我的黑白照片》

配樂歌詞選段：「黑色白色的海報上寫著我的名字」

入圍影片宣言：打破升學主義！

最佳專輯裝幀設計獎入圍影片以老王樂隊《補習班的門口高掛著我的黑白照片》為片頭配樂，描繪補習班、考試帶來的困惑與煎熬，教室彷彿監獄般規訓每個人的異質性，音效場景設定自中學校園內的廣播喇吧播放，威權教育的場景加入教室內粉筆的清脆聲響、課桌椅的木頭質地效果。入圍者的專輯音樂特地挑選沒有人聲歌詞段落，期待此獎項的入圍影片能夠更著重在專輯包裝設計如何細緻呈現每一張專輯，看見作品的獨特性。

對比補習班填鴨式的知識傳授，升學主義包裝著那段青黃不接的求學時光，穿一樣的制服背一樣的書包，寫下艱深的三角函數但卻難以理解青春歲月的真正解答，莘莘學子的美好年少時代和專輯設計一樣，值得被細細設計、不斷嘗試全新可能，放下沈重的書包與煩惱，留一片自由時光裝幀人生美好。

插畫設計：鄧彧 Teng Yu

動態設計：野人設計 Wild Design

sound by Jason Barkhouse

license - artgrab.co/animation/philipp.igumnov/2153

JL DESIGN再度擔綱第二十六屆金曲獎的視覺統籌，主視覺概念回歸孕育音樂創作的台灣土地，以「台灣源聲帶 Original Soundtrack of Taiwan」為起點，帶領觀眾從大地聲音與自然人文樣貌，喚醒對台灣土地的集體記憶。

Main Visual for the 26th Golden Melody Award Ceremony

JL DESIGN is in charge of the visual direction for the Golden Melody Award Ceremony for a second consecutive year. The main visual concept for the 26th Golden Melody Award Ceremony pays tribute to Taiwan as the source of inspiration for music. Named "Original Soundtrack of Taiwan", the design takes cue from the sight and sound of Taiwan and invokes a collective memory of the land.

JL DESIGN再度擔綱第二十六屆金曲獎的視覺統籌，主視覺概念回歸孕育音樂創作的台灣土地，以「台灣源聲帶 Original Soundtrack of Taiwan」為起點，帶領觀眾從大地聲音與自然人文樣貌，喚醒對台灣土地的集體記憶。

Main Visual for the 26th Golden Melody Award Ceremony

JL DESIGN is in charge of the visual direction for the Golden Melody Award Ceremony for a second consecutive year. The main visual concept for the 26th Golden Melody Award Ceremony pays tribute to Taiwan as the source of inspiration for music. Named "Original Soundtrack of Taiwan", the design takes cue from the sight and sound of Taiwan and invokes a collective memory of the land.

At this Digital Design Slam, student teams had one day to design and produce an identity and motion graphics package for a music awards show. They presented their final design concepts to a panel of judges.

Find out more about VFS's one-year Digital Design program at vfs.com/digitaldesign.

Arms and sleepers

Uno spezzone di un vecchio video musicale, che realizzai nel 2014 per puro divertimento, basandomi sulla musica dei Matador - Arms and sleepers.

Il video è preso dal primo progetto serio che feci interamente in After Effects con l'uso di Trapcod Particles e Mir.

Ritrovarlo, girando per le vecchie cartelle del computer, è stato molto nostalgico, il che mi ha spinto a condividerlo su questo canale.

Music: Arms and sleepers - Matador

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Calumet PortaCube

for quick shooting of props, products. folds flat with a handle.

www.calumetphoto.com/item/RM1007/

片頭配樂選歌：郭頂《水星記》

配樂歌詞選段：「做個夢給你」

入圍影片宣言：科技冷感，需要真實溫暖

片頭歌曲選用歌手郭頂《水星記》，水星是太陽系距離太陽最近的行星，以行星運行描繪人與人之間忽遠忽近不斷嘗試靠近的關係與情感，探問科技便利到底讓人與人之間是更近了還是更遠了？飛行與下墜的音效雜揉數位訊號的電波聲響，斷斷續續的雜訊、無法清楚傳遞的音場，都象徵著距離與科技帶來的疏離和遙遠、無法傳達和溝通。隨著入圍者的音樂行進，最終重新連結彼此，聽見清晰的音樂與情感。

我們是宇宙間迷航的星雲，在資訊時代失散彼此。影片中呈現真實與虛擬兩位主角如何遇見彼此，為關係帶來碰撞，在虛幻與變動漂流的時代，追求真實而獨一無二的情感、生命體驗。

插畫設計：陳青琳 Kim Chen

動態設計：白輻射影像 Whitelight Motion

A closer detail of shattering glass. Top left you'll see a ball bearing we used to break the glass. Being highly scientific we lobbed it as hard as we could and sound activated the flash to capture the impact.

片頭配樂選歌：茄子蛋《浪子回頭》

配樂歌詞選段：「親愛的 可愛的 英俊的 朋友 垃圾的 沒品的 沒路用的 朋友」

入圍影片宣言：朋友定位不是身分地位

入圍影片片頭配樂選用茄子蛋《浪子回頭》，人生樂團彷彿那些一起回頭的朋友，聲音的載體場景位於扭蛋當中，扭蛋打開後不只有人物，音樂一同流洩，隨者手將扭蛋人物抓起的驚呼聲、旁白盧廣仲彷彿每個樂團的小樂迷為每一位入圍者歡呼喝采，片尾時的悄悄加入屬於台灣便利商店特有的叮咚聲響，超商門口常見各式各樣的扭蛋機，期待透過音效召喚屬於台灣日常的生活經驗。

一如影片選材成長過程裡總有一些朋友陪你一起經歷少年時代瘋狂，他們就像是專屬於你的樂團，陪伴彼此歷經顛簸人生。入圍影片插畫以扭蛋組合象徵樂團，總是各有千秋特色，卻又恰恰幾分相似作為同一系列扭蛋，我們遇見各式各樣的角色，總會有幾支留下來和你一起，成為最好的組合。

插畫設計：黃鈺博 Norman.normal

動態設計：黃威凱 Wei-Kai Huang

View Production Stills on Flickr:

www.flickr.com/photos/bentimagelab/sets/72157622256680339/

www.flickr.com/photos/bentimagelab/sets/72157619746721753/

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The indie rock band Modest Mouse is getting the royal treatment from Bent Image Lab’s new director/partner Nando Costa. Just completed, the band’s new music video is a dark and expressive piece of film-making. Heavily rooted in live-action, the impressive six-minute video includes intense moments of stop motion, visual effects, and motion graphics techniques, all brought to life within the studio’s walls.

The visuals follow an artist who enters his personal sanctuary where he is presented with a hand-crafted drawing tool that assists him in materializing his mental impressions. Through drawing circular patterns, the machine discharges an endless web of yarn that guides him through his visual representations of his memories. The story progresses to reveal that he is divided between two worlds, one of dull reality and the second of warped memories. In the process of finding a way out of his consciousness, he is trapped between the two competing spaces, which eventually inflict lethal damage, acting as metaphors to self-destruction.

This lyrical and moving piece was conceived by Nando Costa working closely with lead singer/guitarist Isaac Brock to polish some of the film's intricacies. Featuring a seamless combination of live-action and stop motion that alternates between stage shots of Modest Mouse and a spiraling dream-like world of ever-shifting landscapes, Whale Song is a stunning representation of the combined capabilities of Nando and Bent. The variety and execution of the VFX portions of the video – from yarn reeling into complex patterns to a guitar that plays with no musician attached – strongly evoke the confused and surreal patterns of one's warped memories. Additional creative touches such as animated and intricate photographic collages and giant CG snails sliding across the band's stage – add variety and depth to the surreal world.

“This new video is the perfect showcase for the benefits of the collaboration between myself and Bent,” noted Costa. “I typically wouldn't have created a film with this much live-action or stop motion, and Bent also wouldn't normally approach a project with such a strong motion graphics influence, which is what I have long specialized in. With such well integrated in-house teams, I can’t imagine that there’s a project out there that we couldn’t pull off.”

One of the challenges in Whale Song was to recreate the contours of an ever changing, disorienting and intriguing series of landscapes. Costa shot the majority of the piece with Bent’s RED One cameras, which came in handy for their 4K capabilities when adding camera movement in post. In order to create the feeling that lead singer/guitarist Isaac Brock was being split up between two competing scenarios of pure reality and his imagination, for example, Costa mounted two of the RED cameras side by side on a custom plate, each with identical lenses set at an angle to simulate a stereoscopic effect.

In another instance, band members that appeared to be standing on the ground were actually hoisted aloft and secured to a fake ground plane, which meant that the stage floor was perpendicular to the ground. This situation intentionally restrained their flexibility and shifted the gravity, adding oddness to their movements.

Costa used a variety of frame rates, ranging from time-lapses at 6 frames per second, to 1000 fps shots from a Phantom camera to give the feeling of variety of speed in the character's memories. Blue screen stages were used extensively to place Isaac against the varying landscapes of mountains, dense forest valleys, and deserts. Bent's CG department was also responsible for creating significant portions of the video's landscapes and scenic elements.

During production, Nando and his team relied solely on a very detailed script containing technical and creative notes, live-action and animation guidelines, with specifications for composting and stop motion, which were all previously defined and polished by the director. “From what I’ve learned, producing a project at Bent is a wonderfully self-contained experience,” noted Costa. “From building intricate props to figuring out complex CG shots, Bent has specialists in all fields. I’ll walk over to the stage for live-action, then back to compositing, load the footage and work from there. It makes the whole process immeasurably easier, and creatively freeing.”

“Seeing this video makes me feel good about what we’ve done here at Bent”, stated Bent EP Ray Di Carlo”. We set out to establish a creative clubhouse atmosphere where talented people like Nando could come to work. I’ve always admired directors who can hold a project’s final vision in their minds eye and are able to let the talents around them do their respective jobs for a projects whose creative whole becomes more than the sum of it’s parts, and that defines Nando. Seeing Nando come in, suddenly doing things that he wasn’t used to doing, and still delivering at a high creative and technical level, means that David, Chel and I were able to create a place where everyone learns others’ disciplines. That’s rare. It’s what we set out to do – what we originally wanted -- but when you see it work, it’s amazing.”

Concept:

After entering his personal sanctuary, an artist is presented with a hand-crafted drawing tool that assists him in materializing his mental impressions. The machine discharges his thoughts as an endless web of yarn that guides him through his physical thoughts. The story progresses to reveal that he is divided between two worlds, one of dull reality and the second of warped memories. In the process of finding a way out of his consciousness, he is trapped between the two competing spaces, which eventually inflict lethal damage, acting as metaphors to self-destruction.

Credit List:

Music: Modest Mouse

Animation Studio: Bent Image Lab

Director: Nando Costa

Executive Producer: Ray Di Carlo

Senior Producer: Tsui Ling Toomer

Producer: Kara Place

Production Coordinator: Ryan Shanholtzer

Director of Photography: Bryce Fortner

Motion Control Operator: Jim Birkett

Gaffer: Adam Burr, Jim Birkett

Phantom HD Technician: Benji Brucker

Production Assistants: Andrew Ellmaker, Charlie James, Esa Di Carlo, Morgan Hobart, Samuel Moyle

Kinetic Sculptor: Ben Hopson

Set Designers: Nando Costa, Solomon Burbridge

Set & Prop Fabricators: Daniel Miller, Eric Urban, Greg Fosmire, Jamie Hanson, Jen Prokopowicz, Justin Warner, Kimi Kaplowitz, Marty Easterday, Sarah Hoopes, Solomon Burbridge,

Art Department Coordinator: Evan Stewart

Art Department Intern: Jessie Weitzel

Carpenter: Drew Lytle

Graphic Designer: Nando Costa

3D Lead: Fred Ruff

3D Artists: Eric Durante, Shirak Agresta

2D Animation & Compositing: Brian Kinkley, Brian Merrel, Jay Twenge, McKay Marshall, Nando Costa, Orland Nutt, Randy Wakerlin

Rotoscoping: Ben Blankenship, Randy Wakerlin

Compositing Intern: Dustin Dybevik

Stop-Motion Animation: Jen Prokopowicz, Marty Easterday

Still Photography: Jared Tarbell, Nando Costa

Processing: Barbarian Group

Behind The Scenes Photographer: Ben Blankenship

Special Thanks to: Isaac Brock, Darrin Wiener, Linn Olofsdotter

Links:

Band's Website: www.modestmousemusic.com

Band's Blog: www.modestmouse.com

Band's MySpace Page: www.myspace.com/modestmouse

Animation Studio: www.bentimagelab.com

Record Label: www.epicrecords.com

Contact Info:

Animation Studio: (503) 228-6206

EP: rayd@bentimagelab.com

Director: nandoc@bentimagelab.com

Press:

- Showcased at Seattle International Film Festival during "Bumbershoot"

- Premiered on Pitchfork.com

- Featured in Stash 61

Watch this video on Vimeo. Video created by Bent Image Lab.

all at attention

the Pelican 1510 (Left) Exterior Dimensions (L x W x D): 22.00" x 13.81" x 9.00" (55.9 x 35.1 x 22.9 cm)

the Pelican 1620 (Right) Exterior Dimensions (L x W x D): 24.81" x 19.37" x 13.87" (63 x 49.2 x 35.2 cm)

unless i need to get in them constantly. when on set i leave them upright for a smaller footprint (it's all about square footage when on set/location) and because i actually have a little pad and theyre a good height to just sit on.

the green tape is so people can see them in the dark (safety first kids)

Pelican 1620 Case

"the big one"

i call this my 3D case, since it's filled with mostly markers and a green cube and the chrome/grey ball.

www.pelican.com/cases_detail.php?Case=1620

JL DESIGN再度擔綱第二十六屆金曲獎的視覺統籌，主視覺概念回歸孕育音樂創作的台灣土地，以「台灣源聲帶 Original Soundtrack of Taiwan」為起點，帶領觀眾從大地聲音與自然人文樣貌，喚醒對台灣土地的集體記憶。

Main Visual for the 26th Golden Melody Award Ceremony

JL DESIGN is in charge of the visual direction for the Golden Melody Award Ceremony for a second consecutive year. The main visual concept for the 26th Golden Melody Award Ceremony pays tribute to Taiwan as the source of inspiration for music. Named "Original Soundtrack of Taiwan", the design takes cue from the sight and sound of Taiwan and invokes a collective memory of the land.

JL DESIGN再度擔綱第二十六屆金曲獎的視覺統籌，主視覺概念回歸孕育音樂創作的台灣土地，以「台灣源聲帶 Original Soundtrack of Taiwan」為起點，帶領觀眾從大地聲音與自然人文樣貌，喚醒對台灣土地的集體記憶。

Main Visual for the 26th Golden Melody Award Ceremony

JL DESIGN is in charge of the visual direction for the Golden Melody Award Ceremony for a second consecutive year. The main visual concept for the 26th Golden Melody Award Ceremony pays tribute to Taiwan as the source of inspiration for music. Named "Original Soundtrack of Taiwan", the design takes cue from the sight and sound of Taiwan and invokes a collective memory of the land.

片頭配樂選歌：玖壹壹《我的路》

配樂歌詞選段：「唱歌我可以 來吃苦我可以」

入圍影片宣言： 我選的路，我不怕吃土

年少時代的搖滾夢是青春裡面最燦爛的回憶，以玖壹壹《我的路》刻畫追求歌手夢想路上各式辛酸苦辣與考驗始終無所畏懼的精神，音樂場景置身於施工現場，把隨身攜帶的音樂播放器開至最大聲，在空曠的建物裡享受回音，勞動日常的聲響，搭配入圍者元件的環境音。

追尋音樂旅程中，會有各式挑戰，也許需要嘗試從來沒有做過的事，但不怕月底吃土、不怕生活不如意，只要是自己選的路，說什麼都要走到最後一刻絕不放手，影片中各個角色在追尋金曲歌王的夢想中，都展現了音樂人對於所愛的堅持，吃苦沒關係，吃土也沒關係，只要還有音樂就好，只要可以一直追尋夢想就好。

插畫設計：© Buddy Make Studio, udnFunlife Co.,LTD

動態設計：林思翰 Hans Lin

ready to roll with convenient slide out handles.

the smaller one gets carried on. the bigger one gets checked in and is usually pretty heavy so i'm always paying an extra 50 bucks for weight or something. sometimes i will ship it ahead of travel or even fedex it. yes, it's expensive.

JL DESIGN再度擔綱第二十六屆金曲獎的視覺統籌，主視覺概念回歸孕育音樂創作的台灣土地，以「台灣源聲帶 Original Soundtrack of Taiwan」為起點，帶領觀眾從大地聲音與自然人文樣貌，喚醒對台灣土地的集體記憶。

Main Visual for the 26th Golden Melody Award Ceremony

JL DESIGN is in charge of the visual direction for the Golden Melody Award Ceremony for a second consecutive year. The main visual concept for the 26th Golden Melody Award Ceremony pays tribute to Taiwan as the source of inspiration for music. Named "Original Soundtrack of Taiwan", the design takes cue from the sight and sound of Taiwan and invokes a collective memory of the land.

片頭配樂選歌：熊仔《凶宅》

配樂歌詞選段：「看我從玩音樂小男孩 變成天菜」

入圍影片宣言：自己的標籤自己貼

片頭配樂選用饒舌歌手熊仔的作品《凶宅》，音樂讓活在刻板印象的人們得以有所不同，玩音樂的小男孩永遠都有可能變成天菜、變成偶像。影片中的飛行器就是音樂的載體，音效概念呈現了星際大戰中的科幻奇異，並加入沙漠的飛沙、標籤紙張飛動與無線電電波聲響。

少年駕駛飛行器穿越各式各樣的巨大人像，標籤四散瓦解，當我們透過媒體、網路、耳語，輕易地將他人貼上標籤，便再也看不見個人真實樣貌，難以理解他人獨特與差異，影片中沒有面孔的人像被貼上社會賦予的既有標籤，，音樂是每個創作者的宣言，表達自我主張、脫離世俗眼光，只有我的歌，可以說清楚我是誰，就讓我用音樂告訴你我想要什麼標籤。

插畫設計：洪添賢 CROTER

動態設計：JL DESIGN