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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：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：黃瑋傑《天光日》
配樂歌詞選段：「就是這樣 唱給年輕人回來 就是這樣 唱給老幼大小」
入圍影片宣言：傳承是最美好的回饋
不忘記過去，不停止前進，影片配樂選用客家歌手黃瑋傑作品《天光日》，向客家音樂指標性前輩交工樂隊致意，以及形塑了重要的客家聚落認同的美濃反水庫事件。考量選歌具有的重要土地意象，配樂製作上先將音樂放在隱微的位置，搭配片頭動態將工廠推開後，屬於在地的音樂隨著自然意象一同浮現，創造場域的轉換，以及各個入圍者間相互搭配的昆蟲、植物、與孩童的歡笑。
一如曾經的美濃反水庫運動守護了珍貴的生態文化，影片希望呈現這不只是環境運動，是對台灣自然、人文的守護與傳承，我們擁有多元異質的音樂創作，在地豐富的文史值得被看見，就讓社區文化資產、農村轉型的珍貴記憶與美好客家文化不斷傳唱下去。
插畫設計：川貝母 Inca Pan
動態設計：李竺潔 Chu-Chieh Lee
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：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.
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：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 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.
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：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
片頭配樂選歌：張三李四 《拆》
配樂歌詞選段：「兩小無猜 兩老不拆」
入圍影片宣言：安居，不委屈求權
多希望這片土地上的家，就像是最完美的演唱組合從來都不要拆。
片頭配樂選用張三李四《拆》，「兩小無猜，兩老不拆」能夠安居的家園建構了人際、家庭、人與土地之間的深厚連結，音效在緩慢的歌曲行進中，加入激烈的拆遷聲響、新聞播報、人聲抗議「你為什麼拆我房子」等串連社會議題的強烈感受，串場大量呈現與迫遷相關的意象，玻璃碎裂、磚牆拆除、金屬摩擦、機械行進，結尾則以平和的集會、城市共構的生機出現嘗試表達對於安居具有共識的效果。
影片表達住宅從來不只是居住，而是人與空間的連結能夠深刻地為生活帶來安定、信賴、情感，影片講述台灣面臨的重要土地開發議題，高樓開發、工業建設與居住權利權衡，都市更新與居住正義不只是競合而已，透過勇於表態和起身行動，守護心目中要住一輩子的家。
插畫設計＆動態設計：
圖文不符｜簡訊設計 SimpleInfo Design
片頭配樂選歌：Crispy脆樂團《色香味俱全》
配樂歌詞選段：「都加了些什麼？（塑化劑 硝酸鹽 三聚氰氨）能不能對我說？」
入圍影片宣言：吃，吃得出良心
You are what you eat. 片頭配樂選用脆樂團《都加了什麼》，其中悄悄話般的歌詞，宛如食安問題隱微卻漫步在生活各角落的狀態，也象徵編曲製作內容充滿各式隱微細節。影片音場音場置身於類似畫面中擁有水泥牆壁的實驗室中呈現明亮而清晰效果，並選用各式料理過程中會出現的聲響，刀落在粘版下切菜的節奏、油鍋、水煮、柴米油鹽醬醋煎煮炒炸的餐飲日常，透過生活中的細節聲音體驗營造餐飲與化學添加物的衝突感。
影片主角烹調料理細細呈現食品安全在當代台灣面臨的問題，如何在飲食中真正健康且尊重自己身體的需求？吃下肚的怎能沒有良心？怎能對添加物與黑心食品輕易妥協？食物建構了我們的生活、我們的家，我們的未來。
插畫設計：王春子 WangChuenTz
動態設計：許峻良 Jim Hsu
片頭配樂選歌：FLUX《來自1960》
配樂歌詞選段：「想要回去聽 真實演奏的聲音」
入圍影片宣言：抓得住，不怕美好稍縱即逝
入圍影片配樂選用FLUX《來自1960》，以「真實演奏的聲音」呼應音樂帶來的當下美好，音效場域彷彿置身於舞會現場，人與人之間的社交、互動、歡笑、杯盤碰撞，並加入數位音效象徵科技帶來人類關係互動的轉變，營造復古和時尚之間的差異，和諧的衝突感呈現優雅又幽默的互動感受。
數位時代讓人際關係經營更加便利，每個互動都是絕無僅有的此刻，誠如舞會畫面中飄動的like/unlike、follow/unfollow字樣，擁抱真實的關係情感，不再對於美好消逝感到恐懼，不再覺得失去是捨不得，美好，抓得住，真實的生命經驗無憂失去。
插畫設計：楊謹瑜 Vita Yang
動態設計：混合編碼 MixCode studio
Unleash the power of animation in your classroom!
This video introduces educators to Apple Motion, a user-friendly motion graphics software that can transform your teaching experience by making complex concepts accessible and engaging for students.
Learn how Motion can help you:
- Develop dynamic, professional-looking multimedia content to captivate your students
- Visually explain complex topics in an engaging way
- Quickly customize learning materials and supplementary content
- Visualize scientific concepts
Discover the software's features, its cost-effectiveness for educators, and get inspired by real-world examples.
Take your lessons to the next level and ignite a passion for learning with Apple Motion!
Thanks for the comments, faves and visits
To see more of my 4K videos please see my Video Website: vimeo.com/randyherring
To see more of my 4K HDR videos see my channel: www.youtube.com/@hherringtech
Thanks for the comments, faves and visits
To see more of my 4K videos please see my Video Website: vimeo.com/randyherring
To see more of my 4K HDR videos see my channel: www.youtube.com/@hherringtech
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.
Ezekiel 10:9.
My take on the 1980s NBC sci-fi series "Project Blue Book", with a slight whirligig / Pink Floyd tinge.
This took most of a weekend to make.
Music: "le conte du poisson magique" (The story of the magic fish).
by Bluemillenium
featuring subdes2, Greg Baumont, and Kristinhers
from CCMixter.org:
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.
Storyboards from a motion piece I concepted and art directed for North Church in OKC. It'll be played in theaters around the city.
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.
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.
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.
Look out honey, cos I'm using technology....
Jam Factory man about town & design warlock Gav Strange launched his new quintet of Droplet vinyl toys last Saturday, complete with a batch of 50 customised versions from various art & design goons from up & down the country. He sent me over an Illustrator file to make some sort of animation & this is what I did to sexify it with C4D & AE.
Get on down with the interweb geekout at www.jam-factory.com/droplet/ and the
vimeo.com/scottgeersen/twtwb-titles
Title Sequence: Concept, Pitch, Boards, Design, Direction, Animation, Compositing, Project Management.
This Australian film by Director Stuart Beattie is an adaptation of John Marsden’s classic first novel of the “Tomorrow” series, which has been translated into 7 languages and captured the imaginations of teenagers across the globe.
Following on from a successful titles pitch (work.scottgeersen.com/twtwb-titles-pitch) to director Stuart Beattie and EP Andrew Mason, I designed and directed the main-on-end title sequence for the film, leading a team of in-house and freelance artists, as well as undertaking much of the animation and compositing work myself.
My brief, partly self-initiated and partly from the director and EP, was to represent scenes pivotal to both plot and characters in an accelerated journey that was as forceful, aggressive, and stirring as possible.
To do so, a highly stylised, almost painterly approach was chosen, referencing visual cues very familiar to teen audiences – graphic novels, comics, silhouettes, illustrations. The most striking moments from the film were reduced and broken down into iconic representations, giving them much greater emotional resonance.
Subtle use of 3D space and perspective injects depth and tension, and frames are vividly depicted in the rich orange, brown, and gold tones of the Australian summer – a palette that is simultaneously vibrant and dangerous, suggestive of idyllic bush sunsets and fiery explosions. Search- and flood-lights, explosions, and gun flashes impart sharp details to the silhouetted forms, at once highlighting and simplifying specific features of each scene.
Process:
Once production began with a team of 5 (including myself), we had only 3 weeks to produce more than 90 seconds of 2K motion graphics and 3D, mostly from scratch. While I had pitched my own visual interpretations of narrative events, Stuart was very keen to more closely represent actual shots from the film – including key images of characters. This was a tricky process, as I never managed to see a cut of the film before the cinema release! While perhaps an unusual situation for a titles designer to be in, I was helped along by the film’s editor Marcus D’Arcy, and an intimate knowledge of original novel. In the end, about 50% of shots came from my original pitch, and my team and I created additional styleframes as Stuart relayed his ideas.
To complete the project, I enlisted the help of several freelancers. Daniel Balzer was our 3D artist, working in Cinema 4D. Morten Rowley provided additional 3D in Maya, and Daniel Bavell provided painted/illustrated elements. Designer Jess Morgan set up the opening title cards and logo as well as comping the final shot of the sequence.
Credits:
Titles Director: Scott Geersen
Art Direction: Scott Geersen
Design/Animation/Compositing: Scott Geersen, Daniel Bavell, Daniel Balzer, Morten Rowley, Jess Morgan
3D: Daniel Balzer, Morten Rowley
Lab Producers: Prue Fletcher, Jayne Herrmann
Watch this video on Vimeo. Video created by Plenty.
Directed by: Plenty™
Art Director: Pablo Alfieri
Animation Director: Mariano Farías
__
Design: Pablo Alfieri
3D Animation: Mariano Farias & Sebastian Livingston
3D Rendering & Lighting: Mariano Farias & Sebastian Livingston
Compositing & Postproduction: Mariano Farias
Montage & Edition: Mariano Farias
Production: Inés Palmas
Sound Design: Santiago Lazarte (DeSant)
Client: Fox International Channels
Fox International VP'S: Florencia Pico
Fox Branding Director: Mariano Barreiro
Fox Art Director: Natalia Español
Year: 2010
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.
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.