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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.
Storyboards from a motion piece I concepted and art directed for North Church in OKC. It'll be played in theaters around the city.
Meat Market is a reflection of what extremes men go to try to meet women.
No matter what the circumstance, the male may have no arms or legs, if he is put in a room alone with a woman he will still try his best lines on her.
Join us in one of these situations where Adam is attempting to seduce Eve with no better material than 'Animal mating habits'...
. Will Adam succeed where other men have literally fallen flat on their faces, or will he just be another failure, destined to grovel at Eve's feet?
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Meat Market is a reflection of how women have been and are being objectified.
Pressure for the body beautiful these days could find you in an expensive 'Meat Market' looking to sell or buy spare body parts. You too can preserve donated parts in your local plastic surgeon's freezer, waiting for the day you need a new face or arm.
Meanwhile some of our body parts are having fun, treating the freezer as if it were a night club. Adam does his best to corner and tantalize Eve in an age old game of love and seduction. He brings up the most absurd examples to try and woo Eve in a sad attempt of flirtation.
There is no escape for Eve as she is showered by Adams requests. She has only her wit to out smart Adam.
CONCEPT
"Meat Market" examines inherent violence in our society today, coupled with the desire of looking beautiful at all times. This film deconstructs the 'horror' genre rendering it a sophisticated "black comedy'.The idea stems from the notion that men will try to seduce their object of desire in any situation, even when they are dead or are violently incapacitated:
What will happen to society if people keep changing their faces? Will there be stock faces that people can choose from? These are some of the issues underlying "Meat Market"
The themes touched on in this film question the importance of cosmetic surgery and its worth, how it is bought and sold and what effect it has on society.
We are exploring the possibility that plastic surgery is not as important as we make out and that it can be dangerous and violent.
DESIGN
All of the backgrounds, props and scenes in "Meat Market" are 3d animation. All of the faces are live, thus creating a live action 3D animation. On first viewing one does not realize that they are not watching live locations and that the entire film was done using 3D technologies.
We have created a world that looks real from the outside, but is artificial in reality. This is parallel with the underlying cosmetic surgery issues, inherent in the film.
MEAT MARKET SCREENINGS/AWARDS:
Hollywood Film Festival 2005
( Nominated best film)
Icastelli Animati -- Official selection
MUFF 2004(Melbourne Underground film Festival) -- Winner Best short
AVA -- WINNER Gold medal -- Australasian Video Awards LA International Film Festival Alameda Film Festival (San Francisco)
Sour Grapes
In The Realm of The Senses (winner Bali screenings)
Fiztroy Shorts
Love your work
Canal + (French TV)
Net TV ( mobile shorts)
100% Art Festival Israel 2005
Pedrito Film festival -- South America
The Other Film festival 2004
Cast
Lacey Fitzgerald
Todd James
Matt Osbourne
Hamilton Moore
Melissah Commens
Ryan McCarthy
Paul Farrell
Watch this video on Vimeo. Video created by Remo Camerota.
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
Carburando, the main company that spreads the Argentine motor racing, summoned us to create the openings of its major categories.
The first one was for the exciting TC Track, the most popular category in Argentina, where the rivality is only comparable to that of soccer teams. 4 different brands, incredible popular in the 60's and 70's are part of the competition: Ford's "Falcon" "The Chevy" of Chevrolet, "The Dodge" of Dodge and "The Torino" of Renault.
It is a fight to death among gladiators, who arm themselves in their caves and go out as beasts to the meeting in the track race. They will measure themselves in a hand-by-hand fight in a dark and surrealistic scene.
It only lasts 35 seconds, but it ask for more. Maybe the story will have its end soon.
Directed by: Plenty
Art Direction: Pablo Alfieri
Animation Direction: Pablo Alfieri & Mariano Farias
Concept: Mariano Farias
Car Designs: Mariano Farias, Pablo Alfieri, Juan Martin Miyagi
Compositing & Postproduction: Mariano Farias, Pablo Alfieri
3D Modeling & Textures: Daniel Bel, Pablo Molina, Juan Martin Miyagi
3D Rendering & Lighting: Daniel Bel
3D Animation: Pablo Molina, Cristian Fieiras
Montage & Edition: Mariano Farias, Pablo Alfieri.
Production: Ines Palmas
Year: 2011
Client: Carburando TC
Production Manager: Emanuel Angeli
Sound Design: Indigo Musica
Watch this video on Vimeo. Video created by Plenty.
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
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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.
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.
Creative Director and co-founder of the design-driven creative agency Buck, Digital Design grad Ryan Honey recently made a return to VFS. Ryan spent a week sharing his experience and advice with current students.
Read more about Ryan's visit on the VFS Blog.
Find out more about VFS’s one-year Digital Design program at vfs.com/digitaldesign.
Experimental animation exploring various techniques using dynamics, mograph cloners, and geometry in Cinema 4D.
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.
Creative Director and co-founder of the design-driven creative agency Buck, Digital Design grad Ryan Honey recently made a return to VFS. Ryan spent a week sharing his experience and advice with current students.
Read more about Ryan's visit on the VFS Blog.
Find out more about VFS’s one-year Digital Design program at vfs.com/digitaldesign.
We're hoping [with fingers crossed] the preeminent John Walters is going to provide the books introduction.
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.
Vinheta desenvolvida com conhecimentos básicos de After Effects durante as aulas de Vídeo, do Bacharelado em Comunicação Visual, do Centro Universitário Senac.
Softwares: After Effects e Photoshop
Handcrafted with love by BYU design students and faculty, for the 5th Typophile Film Festival. A visual typographic feast about the five senses, and how they contribute to and enhance our creativity. Everything in the film is real—no CG effects!
Shot with a RED One, a Canon EOS 5D Mark II, a Canon EOS 40D, and a Nikon D80.
Stop motion created with Dragon Stop Motion.
Creative Director & Faculty Mentor:
Brent Barson
Writing & Storyboarding:
Brent Barson, Jessica Blackham, Analisa Estrada, Meg Gallagher, John Jensen, Regan Fred Johnson, Colin “The Pin” Pinegar
Construction, Paint & Glue:
Brent Barson, Wynn Burton, Analisa Estrada, Meg Gallagher, Olivia Juarez Knudsen, Casey Lewis, Reeding Roberts, Deven Stephens, Brian Christensen (Brain Sculpture)
Animators:
Brent Barson, Wynn Burton, Analisa Estrada, Meg Gallagher, Olivia Juarez Knudsen, Reeding Roberts, Deven Stephens
Cinematographer:
Wynn Burton
Editing:
Brent Barson, Wynn Burton, Analisa Estrada, Meg Gallagher, Reeding Roberts
Hand Models:
Analisa Estrada, Meg Gallagher, Olivia Juarez Knudsen, Deven Stephens, Michelle Stephens
Original Music:
micah dahl anderson - www.micahdahl.com
Special thanks to Joe, Jared, Zara, and the Punchut/Typophile crew for enabling this!
Watch this video on Vimeo. Video created by Brent Barson.
Animated gif from the 'Fetish Objects' series by V5MT,
made November 2014 for Digital Sweat Gallery.
Released in an online group show January 2015.
➜ v5mt.tumblr.com/post/108113384452/checkkk-out-all-the-cra...