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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.
Animated GIF here: cargocollective.com/geso/A-Virus-From-Outer-Space
"Language is a virus from outer space." William S. Burroughs
New collection of animated GIFs, extract from my current visual-set as VJ, inspired in the quote from Burroughts. This visual set has been showcased at CutOut Fest 2012 (Queretaro, Mexico) and Applied Sound Arts 2013 (Leipzig, Germany), so far. More shows 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.
Learn more about VFS's one-year Digital Design program at vfs.com/digitaldesign.
The digital stop-motion video I created for my first font, 'Ribbon Candy.'
Available soon for download at www.heykyle.net
To Do List is a personal project about the things we cherish and aspire to do in our every day lives. Hope it inspires you!
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Created by
Yaniv Fridman : www.yanivfridman.com
Daniel Luna : www.danielluna.tv
Music and Sound Design by
WhiteNoise Lab / Roger Lima : www.whitenoiselab.com
Watch this video on Vimeo. Video created by Yaniv Fridman.
Author: Tisha
Madrid, 2010
In parapsychology and many forms of spiritual practice, an aura is a field of subtle, luminous radiation supposedly surrounding a person or object (like the halo or aureola of religious art) that some people are claimed to be capable of observing by means of their third eye.[1][2] The depiction of such an aura in religious art usually connotes a person of particular power or holiness.
Metaphysical contexts
In metaphysical terms, "spirit" has acquired a number of meanings:
1.An incorporeal but ubiquitous, non-quantifiable substance or energy present individually in all living things. Unlike the concept of souls (often regarded as eternal and usually believed to pre-exist the body) a spirit develops and grows as an integral aspect of a living being.[citation needed] This concept of the individual spirit occurs commonly in animism. Note the distinction between this concept of spirit and that of the pre-existing or eternal soul: belief in souls occurs specifically and far less commonly, particularly in traditional societies. One might more properly term this type/aspect of spirit "life" (bios in Greek) or "ether" rather than "spirit" (pneuma in Greek).
2.A daemon sprite, or especially a ghost. People usually conceive of a ghost as a wandering spirit from a being no longer living, having survived the death of the body yet maintaining at least vestiges of mind and of consciousness.
3.In religion and spirituality, the respiration of a human has for obvious reasons become seen as strongly linked with the very occurrence of life. A similar significance has become attached to human blood. Spirit in this sense denotes that which separates a living body from a corpse — and usually implies intelligence, consciousness and sentience.
4.Various animistic religions, such as Japan's Shinto and various Native American and African tribal beliefs, focus around invisible beings which represent or connect with plants, animals (sometimes called "Animal Fathers"), or landforms; translators usually employ the English word "spirit" when trying to express the idea of such entities.
5.Individual spirits envisaged as interconnected with all other spirits and with "The Spirit" (singular and capitalized). This concept relates to theories of a unified spirituality, to universal consciousness and to some concepts of Deity. In this scenario all separate "spirits", when connected, form a greater unity, the Spirit, which has an identity separate from its elements plus a consciousness and intellect greater than its elements; an ultimate, unified, non-dual awareness or force of life combining or transcending all individual units of consciousness. The experience of such a connection can become a primary basis for spiritual belief. The term spirit occurs in this sense in (to name but a few) Anthroposophy, Aurobindo, A Course In Miracles, Hegel, and Ken Wilber. In this use, the term seems conceptually identical to Plotinus's "The One" and Friedrich Schelling's "Absolute". Similarly, according to the panentheistic/pantheistic view, Spirit equates to essence that can manifest itself as mind/soul through any level in pantheistic hierarchy/holarchy, such as through a mind/soul of a single cell (with very primitive, elemental consciousness), or through a human or animal mind/soul (with consciousness on a level of organic synergy of an individual human/animal), or through a (superior) mind/soul with synergetically extremely complex/sophisticated consciousness of whole galaxies involving all sub-levels, all emanating (since the superior mind/soul operates non-dimensionally, or trans-dimensionally) from the one Spirit.
6.Christian theology can use the term "Spirit" to describe God, or aspects of God — as in the "Holy Spirit", referring to a Triune God (Trinity): "The result of God reaching to man by the Father as the source, the Son as the course ('the Way'), and through the Spirit as the transmission"[cite this quote].
7.In (popular) theological terms, the individual human "spirit" (singular, lowercase) is a deeply situated aspect of the soul[citation needed] subject to "spiritual" growth and change; the very seat of emotion and desire, and the transmitting organ by which humans can contact God. In a rare theological definition it consists of higher consciousness enclosing the soul.[citation needed] "Spirit" forms a central concept in pneumatology (note that pneumatology studies "pneuma" (Greek for "spirit") not "psyche" (Greek for "soul" — as studied in psychology).
8.Christian Science uses "Spirit" as one of the seven synonyms for God, as in: "Principle; Mind; Soul; Spirit; Life; Truth; Love"
9.Harmonism reserves the term "spirit" for those which collectively control and influence an individual from the realm of the mind.
Verb:
protecting
1.Present participle of protect.
Noun:
protection
Plural
countable and uncountable; plural protections
protection (countable and uncountable; plural protections)
1.The process of keeping (something or someone) safe.
2.(computing) An instance of a security token associated with a resource (such as a file.)
energy (plural energies)
1.The impetus behind all motion and all activity.
2.The capacity to do work.
3.(physics) A quantity that denotes the ability to do work and is measured in a unit dimensioned in mass × distance²/time² (ML²/T²) or the equivalent.
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
www.area75.com.ar y www.molinofilms.com.ar
Presentan este cortometraje de Juan Pablo Rainieri.
Protagonizado por Marcia Pinto y Jimena Domínguez.
Guión de Diego Rojas.
Dirección de arte y matte painting de Jorge L. Fernández.
3D de Flavio Bianchi.
Música original de Jimena Domínguez.
Animación experimental. Gráfica en movimiento inspirada en los muros de la Brigada Ramona Parra.
Musicalización, Legua York (maqueta DVD)
Diseño y Animación: ecostypo
With each and every post, we strive here at Creative Tempest to bring you only the best artists from around the world. This post comes to you from the great American state of New York, with our artist being none other than internationally known Creative Director, Gui Borchert. Chances are, if you’ve picked up a magazine in the passed few years, you’ve seen some of his ads for big names such as Coke, Dell, Nike and Puma. Gui has an incredible credentials list that includes speaking in conferences around the world, judging international competitions, having his work showcased at art galleries in places like Brazil and New York City, being internationally published in books and magazines, and winning a ton of awards just to top it all off. We’re happy to post such talent and vision here on Creative Tempest and hope you will share the same appreciation for great artwork that we do. Find out more info at www.creativetempest.com
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.
Seamless, Looping Animated Virtual Set Studio of a News Room. High definition video in Quicktime format and compatible with most of the popular video editing software - Adobe After Effects, Adobe Premiere Pro, Avid DS, Grass Valley Edius, Apple Final Cut Pro, Sony Vegas Pro, etc
We can also modify these sets as a special order and also undertake custom orders for special requirements. Send us an email at redbombilstudio@gmail.com
CMA Video filmed the opening of Winston's Whistle Stop Tour, the latest ride at Thomasland at Drayton Manor
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1OmtC1q
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》Featuring The Amazing: @iamstylow ┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄
DAY 205 • SpreadYourWings |#fly #birdman #bird #feather #orb #daily #design #motiongraphics #graphicdesign #cgi #3d #dailyart #dailypic #c4d #minimal #cinema4d #scifi #abstract #modern #graphics #arthabit #artoftheday #renderaday #render #stylow #everyday #rsa_graphics #liferemixed #otoy #octane
✰Follow @iamstylow on Instagram for more awesomeness like this!
Saul Bass created his last film title sequence for the movie, “Casino” in 1995, a year before he passed away.
Image: A still from Saul’s title sequence for “Casino,” 1995
Video: Watch the complete title sequence
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Follow Design Facts on Twitter: twitter.com/DesignFacts
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
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.
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
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.
Animated GIF here: cargocollective.com/geso/A-Virus-From-Outer-Space
"Language is a virus from outer space." William S. Burroughs
New collection of animated GIFs, extract from my current visual-set as VJ, inspired in the quote from Burroughts. This visual set has been showcased at CutOut Fest 2012 (Queretaro, Mexico) and Applied Sound Arts 2013 (Leipzig, Germany), so far. More shows to come!!!
The Assignment:
Create a 15-second title sequence for a fictitious reality show.
Of the three choices for subject matter, I chose a video game competition show where the contestants are father & son teams battling to become “Rom Dom” champions.
The Project:
What you’re seeing is my first completed project using my new skills in After Effects. Because of time constrains, elsewhere I only opened the program a few days before the assignment was due. So this really is the result of my first 15 hours of work with the program. Although slightly stressful, I can’t wait to use the program again for more impactful subject matter.
For my concept, I focused on three classic arcade games: Pong, PacMan, and TRON. The scene itself tells the premise of the game by depicting two father-son PacMen teams that morph into lightcycles, before eventually facing-off at opposite ends of the grid.
Course: Advanced Motion Graphics