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Still Frame from "K.R.E.S." Animated Video by V5MT, August 2015.
Released on September 2015, with music track by Kevin Carey.
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.
Programmes used:
Adobe After Effects
Camera:
Canon EOS 60D
This is a re-shoot of an earlier video I produced where the basic concept is to visually show the process of making tea in the morning. Then, after the process is finished, enjoying the product you made and taking a break before continuing on with the day. This piece was filmed at my grandmother's house and visually represents the following haiku:
how can this be?
this amber liquid sublime
stills my very soul
For better video quality go here:
www.behance.net/gallery/Haiku-Video/780872
Thank you for watching!
A special effects video dedicated to old of my all time favorite bands: The Police.
This took about 3 days to do, on and off. There are over 400 layers in this video to give the segment displays 100 pixels depth each.
Now that I've created these shapes I've got plans for them in other, future videos.
If you can't see it here, watch it on YouTube:
Stop-Motion Graphics + GIF ANIMATION
TYPE IN MOTION
educational workshop 2011-1012
TUTORIAL:
typeinmotionblog.fbarrie.org/2012/01/19/tutorial-gif-anim...
Still Frame from "K.R.E.S." Animated Video by V5MT, August 2015.
Released on September 2015, with music track by Kevin Carey.
Cube Process ✅ Breakdown and source file available on my Web site #ethikdesign #gsg #5sp #contestwinner #3dart #3dwork #3dartist #motion #motiongraphics #inspiration #dailyart #c4d #cinema4d #instadaily #videooftheday #animation #3danimation #rendering
77 Likes on Instagram
6 Comments on Instagram:
lukedaviesss: Do you do these yourself?
ethikdesign: Yes @lukedaviesss i win the 5sp animation Contest at GreyscaleGorilla.com . You Can find an ITW as well
lukedaviesss: Amazing! Well done. Could you possibly spare a moment to make me an animation of me juggling 5 clubs! Its for a logo/intro that me and the company I work alongside are thinking of! Would be used in all my videos ect. Pretty cool if you could help:)!
olliehooper_studio: Love this. Remember seeing it on gsg a while back.
ethikdesign: @olliehooper_studio yes dude I can't share it here before . Glade you like it ;)
masi66_: @marrrooo_
Carburando, the important company that spreads the Argentine driving, summoned us to create the openings of its main categories.
Turismo Nacional is a popular category, where young pilots compete with their own street cars with minor modifications in the structures. They are basically car tunings where the pilot trickery plays a vital role, causing lot of friction among them. Plenty developed the idea, and placed the plot in a typical Argentine town. After a drive around the car is transformed in a racing car (tuning) once it gets into the house garage, along with the rest of the cars in the town, while the garages are transformed into Racing Boxes. Back in the street, cars preheat engines and get into an deadly iron bridge. Once again the pilot trickery would be vital to survive and to win.
Directed by: Plenty
Creative Director: Mariano Farias.
Art Director: Pablo Alfieri.
Animation Director: Mariano Farías.
Illustration: Elda Broglio.
Graphic Design: Pablo Alfieri.
Rotoscoping: Elda Broglio & Mariano Farias.
Hand-Drawn Animation: Elda Broglio.
2D Animation: Hernán Estevez.
Compositing: Mariano Farias & Hernan Estevez.
3D Lead, Rendering & Lighting: Daniel Bel.
3D Modeling & textures: Daniel Bel, Martÿffffedn Miyagi, Agustin Anzorena.
3D Animation: Daniel Bel, Agustin Anzorena, Bruno Pérsico.
Montage & Edition: Mariano Farias
Postproduction: Pablo Alfieri & Hernán Estevez.
Production: Ines Palmas
Year: 2011
Client: Carburando
Production Manager: Emanuel Angeli
Music: "Sometimes" Miami Horror (only used for this site, and without commercial purposes)
Sound Effects: Indigo Musica + Mariano Farías
Watch this video on Vimeo. Video created by Plenty.
Animación realizada para el concurso Santiago en 100 palabras organizado por Plagio y Metro de Santiago.
DIseño y animación: ecostypo + manglar
Composición musical: Nelson Bobadilla (Hommer)
Saludos especiales a todo el equipo de Plagio y a mi amigo Manglar, buen viaje compañero.
© All Rights Reserved - Black Diamond Images
"This year, Vivid LIVE has commissioned multi-award winning German design collective URBANSCREEN to create a new projected artwork, transforming Sydney Opera House with their reinterpretation of the sails – Vivid LIVE’s most public event. (Recommend viewing this VIDEO)
URBANSCREEN have taken the art of light projection, video mapping and motion graphics to extraordinary heights in their many large scale installations, including commissions from major art galleries, international festivals and opera companies. Recent works showcase their versatile and sensitive engagement with architecture, from the dream-themed 555 Kubik at the Hamburger Kunsthalle, the ‘operatic staging’ of Wolfgang Amadeus Mozart’s Idomeneo, Rè di Creta at Theatre Bremen, to the celebration of the 10th anniversary of the Museums Quartier in Vienna – highlighting Creative Director Thorsten Bauer’s musical approach to institutions.
The work will explore both the iconic sculptural form of the Opera House but also its place as a home for music, dance and drama, resulting in a work that is both sophisticated and spectacular." Reference
While the lightshows around the harbour are stunning it is worth noting that there is just so much more to the Vivid Sydney Festival and more than one night does need to be allocated to see all that this festival has to offer.
Check out the website for much more.
Vivid Sydney - Festival of Lights and Ideas draws to a close tomorrow night 11th June after having opened on 25th May 2012
More Vivid Sydney Photos HERE (Images to be added as time permits.)
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.
Learn more about VFS's one-year Digital Design program at vfs.com/digitaldesign.
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.
Ideas come and go, and inspiration hits once in a while.
This is a visualization of what goes on inside my head. =)
Hope you all enjoyed your weekends.
Don't let Monday get you down!
Enjoy!
The Mushroom (our reps in Spain) and SerialCut (one of our big role models in direction of art) decided Plenty to be their partner to produce 6 spots for Vodafone España. We had to deliver one each week, and we made it!
It was a series of neat minimalists motiongraphics. Each one promoted a different product or discount that was contented inside a different element. Once the objects opened the promotion was discovered.
The result was a package of super interesting, actual and modern pieces.
Co-Directed by: Serial Cut & Plenty
Art Direction: Serial Cut & Pablo Alfieri
Animation Director: Mariano Farias
3D Animation: Hernán Estevez, Sebastián Curi & Mariano Farias
3D Modelling: Juan Martin Miyagi
3D Lighting & Rendering : Daniel Bel & Mariano Farias
Montage & Edition: Mariano Farias
Post-Production: Mariano Farias
Production: Inés Palmas
Year: 2011
Client: Vodafone España
Production Company: The Mushroom
Music: Trafalgar 13
Watch this video on Vimeo. Video created by Plenty.
Still from 3D animated video 'F i r e C a s t C l u b'
directed and produced by V5MT,
with music track by ☯3CPV₮Σ☯
Released August 2014.
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
✰ This photo was featured on The Epic Global Showcase here: flavoredtape.com/post/157679116207
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✰ Featuring Mat ✰
-Explore @matbrown01_3d here and on instagram for more!
E • #36daysoftype #36days_e • • • • • #computerart #cinema4d #thedesigntip #c4d #lightroom #motiongraphics #mograph #cgi #3d #3dtype #typography #typematters @xuxoe #digitalart #maxon #digitalart #DigArtShare #lucidscreen
a scene from the latest video from Option Z, watch the entire video www.youtube.com/watch?v=fArZ_gy2zJ4
This performance was for LoveTechSF.com in San Francisco. It's a collection of artists and musicians that also contains a major component they call LearnTech, where artists and visualists present their setups and show their methodology in a workshop setting. As such, we've all learned a lot very quickly.
CSTNG-SHDWS is Colin Sebestyen and Justin Metros.
For this promo video, we are syncing to prerecorded Nonagon tracks, however, the performance was all live. Nonagon has a MAX patch that sends his monome and MIDI data to control Ableton live. We split this signal and used his data for our VDMX setups. Justin and I VJ in VDMX exclusively, however, our real focus is interactive and motion graphic design.
Nonagon (JB Kirby) is a brilliant guy, he programs AI during his days and makes soulful computer music at night. In working and discussing with him, we had a lot of creative discussions- sacred geometry, decay, math in the natural world and etc. His music was in progress for this show, and we designed visual packs that he could approve and give influence to his sonic landscapes.
We typically design and sketch out our ideas, and then design in Cinema 4D and After Effects for our motion loops. For a final round of approval, we typically create polished motion loops, and then remove as many of the extraneous effects as possible so we can recreate and control the effects live using effects chains in VDMX.
Justin has a programing background, so we have messed with programatic visualism (Quartz, Flash, etc) however, we have found that the design sensibility typically suffers as opposed to a loop based approach.
There are three tracks in this promo... the live show was much longer, about 10 tracks or 45 minutes. We had a live vocalist in Angie Donkin and her violinist. They had both worked with Nonagon- The violinist we could not glean any data off of, so our data inputs were nonagon's MIDI feed and of course, the live audio levels. The violinist, however, had effect pedals that he utilized and added a beautiful organic feel over the whole set.
There are three tracks represented in the promo - First, "Fixed Action Pattern"- in which Justin and myself researched as much about geometry and nonagons, specifically. We looked at the number nine and it's representation in the natural world as much as we could. We used 9 as our random seed in our flocking simulations, generated nonagons in dozens of configurations.
For "Mr Sniggles House", we used timelapse to capture an overhead projector with various natural live detritus occluding the light beams- feeder crickets, worms, beta fish, all acquired at the local pet store (and returned to nature when their staring roles concluded) and also created a live font using address stencils.
For "Kontrol (I wish you were here)" We worked with Nonagon + Angie and created projection mapped scenes of original photography of tokyo and spain. Using a live font we created for a corporate job! (check out hopebeyondthehype.com) we visualized the loss, yearning, and emotion in the song.
We mixed using a standard V4 Video mixer and projected. It was a bunch of work, but also satisfying in the crowd response.
@colin_movecraft
nonagon.net
cstng-shdws.com
movecraft.com
lovetechsf.com
Watch this video on Vimeo. Video created by Colin Sebestyen.
Etienne-Jules Marey (1830-1904)
Analysis of the Flight of a Seagull, 1887
Bronze
16.4 x 58.5 x 25.7 cm
Dépot du Collège de France, Musée Marey, Beaune, France
From an exhibition at Estorick Collection of Modern
Italian Art, see the Eye events page for more information and other graphic design events.
I decided to revisit the moving filmstrip special effects video and make it more realistic and added more layers. I think this is more interesting than the first try at it last month.
Music:
Massive Attack
"Karmacoma (Napoli Trip)".
Enjoy!
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1SYpSdO
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✰Featuring The Amazing: @yasush ✰ ┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄
“FIVE” [30.4.2016] I have started “Counting Days” as a side project since [25.4.2016] with one goal in mind, learning a new thing everyday. Each day counts! #rsa_graphics #gfx #graphic #graphicdesign #typography #countingdays #motiongraphics #motion #maya #mash #particle #space #planet #orbit #nuke #render #lighting #mtoa #arnold #moon #mars #graphicroozane #art #minimal #surreal #creative #instaartist #dailyinspiration #mdcommunity #manipulationclan
✰Follow @yasush on Instagram for more awesomeness like this!
Long Exposure Exploration of Water's Journey
Step into the aquatic waltz portrayed in this long exposure photograph, where flowing waters gracefully perform a ballet of light and motion. The extended exposure time captures the fluidity of every movement, creating a mesmerizing spectacle of nature's rhythmic dance.
Location: Alcalá del Júcar's