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8 SP students and a lecturer from the Diploma in Visual Effects and Motion Graphics went on an awesome storm-chasing trip in Tucson, Arizona, guided by reowned storm chaser Alister Chapman.
This is my final project for my motion class, in term 4 at VFS. We were given different pitches for different movies and I chose to do it about "That Burning Feelling".
This romatnic comedy talks about a guy that get's diagnosed with STD, and decides to change his life. Based on this information I decided to take THIS approach, where it tells you the story in a very different, and I guess "funny" way.
Let me know what you think!
Watch this video on Vimeo. Video created by Ana Mendez.
Head over to youtube to see the full video: www.youtube.com/watch?v=nTUW9gfOpnA due to Flickr's 90 second video restrictions :(
First of all, if you haven't played Portal 2, you should, especially before watching this video! There are spoilers in the video, and it probably won't make any sense if you haven't played the game :D
This was a short music video I completed for my Motion Graphics project in college.
Loved Portal 1 and 2 and thought Jonathan Coulton's song would make a great project!
This took about six days hard graft, Illustrator files animated in Flash and composited/animated in After Effects.
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
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
1 x 30 second
3 x 10 second cutdowns
Sky Creative's Sarah Cloutier approached Rushes 3D & Motion GFX to produce a commercial promoting Sky's revamped website. The new site promotes all of it's new channels and covers news, sport & entertainment in rich content.
The job was broken down between 3D and Motion Graphics with the Maya guys tackling the 3D elements required in the three sections of the piece. In News Barack Obama spills out of his web page revealing a spinning globe, jumbo jet, city skyline, plus pound & dollar symbols. Sport has Steve Gerrard again spilling out of his page, this time bringing with him a rugby ball, footaball, Formula 1 racing car and cricket stumps. The Final section has Scarlet Johannson coming to life from the red carpet revealing a camera, with snapshots of celebrities shooting out from it as a film can spins out from her frame.
Allan Williamson modelled all these elements and then Mark Pascoe tackled the lighting and texturing using Renderman. Extra 3D elements were created by myself in Cinema 4D which included the Breaking News banner and image frames in all three sections plus the carousel on the final Sky logo reveal .
All elements were then finally composited by myself in After Effects and moving backgrounds wipes and extra polish were added to gel the whole piece together.
The final result is a "content rich" ad which reflects the vibe of the website.
Title: "Sky.com Believe in Better"
Product:3 x 10sec and 1 x 30 Sec. commercials
Agency: Sky Creative
Producer: Sarah Cloutier
Post Facility: Rushes
Rushes Producer: Warwick Hewett
Maya: Mark Pascoe, Alan Williamson
After Effects: Matt Lawrence
Cinema 4D: Matt Lawrence
A motion design invitation for the classical music festival Mahler Jihlava 2010 in Czech Republic.
See the video: vimeo.com/11617795
Portfolio page: www.vitzemcik.com/#402076/Mahler-Jihlava-2010
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1WDMz6O ------------- DAY 196 • Zitaro | #learnsquared #daily #design #motiongraphics #graphicdesign #cgi #3d #dailyart #dailypic #c4d #cinema4d #scifi #abstract #modern #graphics #arthabit #artoftheday #renderaday #render #stylow #everyday #rsa_graphics #liferemixed #otoy #octane #dxfspace2001 by @iamstylow on Instagram.
My "other work" … Animation video is just released! Watch the full video here DRACHENFLUG - DRACHENWISSEN (Official Music Video)
1 x 30 second
3 x 10 second cutdowns
Sky Creative's Sarah Cloutier approached Rushes 3D & Motion GFX to produce a commercial promoting Sky's revamped website. The new site promotes all of it's new channels and covers news, sport & entertainment in rich content.
The job was broken down between 3D and Motion Graphics with the Maya guys tackling the 3D elements required in the three sections of the piece. In News Barack Obama spills out of his web page revealing a spinning globe, jumbo jet, city skyline, plus pound & dollar symbols. Sport has Steve Gerrard again spilling out of his page, this time bringing with him a rugby ball, footaball, Formula 1 racing car and cricket stumps. The Final section has Scarlet Johannson coming to life from the red carpet revealing a camera, with snapshots of celebrities shooting out from it as a film can spins out from her frame.
Allan Williamson modelled all these elements and then Mark Pascoe tackled the lighting and texturing using Renderman. Extra 3D elements were created by myself in Cinema 4D which included the Breaking News banner and image frames in all three sections plus the carousel on the final Sky logo reveal .
All elements were then finally composited by myself in After Effects and moving backgrounds wipes and extra polish were added to gel the whole piece together.
The final result is a "content rich" ad which reflects the vibe of the website.
Title: "Sky.com Believe in Better"
Product:3 x 10sec and 1 x 30 Sec. commercials
Agency: Sky Creative
Producer: Sarah Cloutier
Post Facility: Rushes
Rushes Producer: Warwick Hewett
Maya: Mark Pascoe, Alan Williamson
After Effects: Matt Lawrence
Cinema 4D: Matt Lawrence
8 SP students and a lecturer from the Diploma in Visual Effects and Motion Graphics went on an awesome storm-chasing trip in Tucson, Arizona, guided by reowned storm chaser Alister Chapman.
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
The Art Institute of Portland's January 2009 Portfolio Show - graduating students show their portfolios to the local business community, networking, interviewing, and meeting with potential employers in creative fields.
Find out more about The Art Institute of Portland: www.artinstitutes.edu/portland
Photo: Lulu Hoeller
The Art Institute of Portland's January 2009 Portfolio Show - graduating students show their portfolios to the local business community, networking, interviewing, and meeting with potential employers in creative fields.
Find out more about The Art Institute of Portland: www.artinstitutes.edu/portland
Photo: Lulu Hoeller
Client: Self-Initiated
Role: Art Direction, Design, Animation, Compositing
Date: February 2010
Format: Short Film 1024*576 Widescreen Pal
Sound: ECHOLAB Gavin Little
Nokta (Dot) is an abstract film project which is an improvisation of organic pieces while considering themes like power, chance and luck.
I also wanted a perspective that can be subjectified by viewers.
Watch this video on Vimeo. Video created by Onur Senturk.
Programa semanal que repasa de una manera diferente la actualidad deportiva, así como recuerda grandes momentos de la historia deportiva de Canal +.
Cliente: Digital Plus.
Octubre de 2008
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
End title sequence to a fictional movie "Good Omens," based on the book of the same name by Neil Gaiman and Terry Pratchett.
Case study on the process behind this project available at: www.behance.net/gallery/16404173/Stage-Visuals-TJR
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
1 x 30 second
3 x 10 second cutdowns
Sky Creative's Sarah Cloutier approached Rushes 3D & Motion GFX to produce a commercial promoting Sky's revamped website. The new site promotes all of it's new channels and covers news, sport & entertainment in rich content.
The job was broken down between 3D and Motion Graphics with the Maya guys tackling the 3D elements required in the three sections of the piece. In News Barack Obama spills out of his web page revealing a spinning globe, jumbo jet, city skyline, plus pound & dollar symbols. Sport has Steve Gerrard again spilling out of his page, this time bringing with him a rugby ball, footaball, Formula 1 racing car and cricket stumps. The Final section has Scarlet Johannson coming to life from the red carpet revealing a camera, with snapshots of celebrities shooting out from it as a film can spins out from her frame.
Allan Williamson modelled all these elements and then Mark Pascoe tackled the lighting and texturing using Renderman. Extra 3D elements were created by myself in Cinema 4D which included the Breaking News banner and image frames in all three sections plus the carousel on the final Sky logo reveal .
All elements were then finally composited by myself in After Effects and moving backgrounds wipes and extra polish were added to gel the whole piece together.
The final result is a "content rich" ad which reflects the vibe of the website.
Title: "Sky.com Believe in Better"
Product:3 x 10sec and 1 x 30 Sec. commercials
Agency: Sky Creative
Producer: Sarah Cloutier
Post Facility: Rushes
Rushes Producer: Warwick Hewett
Maya: Mark Pascoe, Alan Williamson
After Effects: Matt Lawrence
Cinema 4D: Matt Lawrence