View allAll Photos Tagged MotionGraphics
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
End title sequence to a fictional movie "Good Omens," based on the book of the same name by Neil Gaiman and Terry Pratchett.
Motion graphic effect that I made today. About 180 layers to make this 1980s homage. This is a work in progress, will update the model in a while to have rotating individual layers. Each sub-cube here has 6 individual faces.
Radium Audio Music & Sound design showreel for Early 2011.
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Founder Foreword: Andrew Diey Dec 2010:
Radium Audio is a unique creative audio company hidden deep in the East End of London.
Our vision is to provide the highest quality sound & music, being fearless and bold about exploring new areas of creativity in the sonic universe.
All the sounds you hear on this showreel are original and have been crafted
organically from real instruments and from objects we have recorded in our
studios ...
Often our clients really treasure us ... and return to work with us time and
time again ... because we live and breathe sound and music.
What we have learned is this. "People don't just watch. They listen and
watch. People want to experience the brand not just the message... and the
right sound in advertising & branding delivers this.
If you choose to work with us, what you will get will be the most authentic
and original ideas.
Andrew Diey
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Clip 01: Magic Christmas
Clip 02: Cadburys - Trident Gum
Clip 03: Reebok - The Pump
Clip 04: BSkyB - Little Crackers
Clip 05: Nowtel - NOWI
Clip 06: Nokia - Booklete 3G
Clip 07: MUBI
Clip 08: Nike
Clip 09: Singapore Tourist Board - Yoursingapore.com
Clip 10: Universal Channel
Clip 11: Weareseventeen - Strange Arrangements
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Pt 2: Sound Design
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Our sounds come from objects we record.
We created our own software for our sound design.
We are at the beginning of a sound revolution.
Opensource software allows us to realise our creative dreams.
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Clip 01: Vh1 - Behind the Music
Clip 02: The Mill - Motion Graphics Reel
Clip 03: The Mill - Games Reel
Clip 04: Rolex - Daytona
Clip 05: Reebok - ZigTech
Clip 06: NCIS - LL Cool J
Clip 07: Nissan - The Digger
Clip 08: Weareseventeen - Strange Arrangements Detail
Clip 09: Ferrari - California
Clip 10: Nowtel - NOWI
Contact: carleen@radium-audio.com
Tel: + 44 (0)208 985 9958
Watch this video on Vimeo. Video created by Radium Audio Ltd.
Professor Jeremy Troy's motion graphics students on the big questions. See what else we're up to: hashtag.usfca.edu/
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.
TRAPCODE MIR is a new After Effects plug-in under development scheduled for release in the summer of 2012.
An analysis of our graphic design "happening" at CSULB.
Group members:
Missy Barclay
Janet Nguyen
Kevin Park
Steven Wood
Art Outside
Friday - Sunday, October 22-24
at Apache Pass
Full access to the Art Outside festival Included in the MGFest Austin All Arts Access Badge, or you can buy tickets for Art Outside only.
Art Outside is a 3-Day camping festival at the beautiful Apache Pass festival grounds near Rockdale, Texas. The site features hundreds of acres of grassy camping areas and lush pecan trees scattered throughout.
Featuring Over 300 Artists including: Random Rab, Gift Culture, Artificial Life Preserver, Psymbolic--visuals, Win Win Creative, VJ Mason Dixon, Michael Christian, Art of Such-N-Such, Life-Size Mousetrap, Ricochet, Elemental Uprising, 999 Eyes Freakshow, Agent Red, Blockhead, God-des and She, Spoonfed Tribe, Community Art Makers, The Art Department, George Krause, Minor Mishap, Gyronauts, T-Bird and the Breaks, Heyoka, Brownout!, Govinda, Anahata Sound, plus many more!
MGFest's Art Outside Screening includes: Max Hattler, N.A.S.A., Eric Gunther for OK Go, Roger Ruzanka & The Flashbulb, Jon Satrom, Alan Sondheim, and more.
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
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
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.
Find out more about VFS's one-year Digital Design program at vfs.com/digitaldesign.
Örn Ólason, from Danish motion studio Thank You, stopped by VFS to speak with Digital Design students about the company’s projects. Ólason shared his experience from starting a company from scratch to working with clients such as MTV and Swatch.
Read the full story on the VFS Blog.
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
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.
Umberto Boccioni (1882-1916)
Dynamism of a Cyclist, 1913
Ink on paper, 18 x 30 cm
Estorick Collection, London
From an exhibition at Estorick Collection of Modern
Italian Art, see the Eye events page for more information and other graphic design events.
A groovy special effects music video and a mathematically intensive simulation at the same time.
Featuring the music of William Orbit: "Hydrajacked".
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
Love national parks?
There's a holiday for that!
In 2023, the Bureau of Ocean Energy Management joined the National Park Service to celebrate all things “parks.”
To highlight the programs and partners that preserve natural and cultural heritage while providing recreational opportunities in places across the country—and even the world-we selected some of our favorite ocean, coastal and national seashores in the National Park System!
Using the 2023 #NationalParkWeek theme of #MyParkStory - we identified 9 parks that be believe embody connection, discovery, accomplishment, tradition, gratitude, ingenuity, inspiration, fun, and love. To capture the essence of these Parks, we launched never-before-seen National Park Tokens (NPTs).
Collect your favorites here! And make sure to share #YourParkStory ️
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.
Communication. Online, E-learning film For Dutch CO. AGILIS BV.
3D animation on low-poly style
Directing & Motion Graphics by Kaan Sensoy
Music by The Bee Gees '' Jive Talkin`
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!!!
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
Party Motion. New track from Smalltown Romeo.
Plant Records 2011
Track by: Pete Emes, Mike Grimes and Mandeep Ubhi
Directed by Matt Luckhurst.
Cinematography: Joshua Wong
Dancers: Ashley 'Colours' Perez, Nishga Hotz-Felder, Sabrina Naz, Adam 'Truck' Bowen,
Animated by Matt Luckhurst and Ege Soyeur.
Special thanks to Sarmad Rizvi, Ryan Ford and John Barros.
Equipment: Emmedia Calgary, Ab.
Shot at the HiFi Club, Calgary, Ab.
Watch this video on Vimeo. Video created by mattluckhurst.
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.
Communication. Online, E-learning film For Dutch CO. AGILIS BV.
3D animation on low-poly style
Directing & Motion Graphics by Kaan Sensoy
Music by The Bee Gees '' Jive Talkin`
Trabajos Audiovisuales, Motion Graphics, 3D, durante el año 2009:
- AGUDO Comunicación.
- MORFO Motion Graphics
- PlayStation 3
- Iphone 3G s
- Libelula Post
- Aldea S.O.S.
- Etc.
Musica: RATATAT - Seventeen years
Trabajado en: After Effects Cs4, Premiere Pro Cs4, 3D max, Cinema 4D, Illustrator Cs4 y
Photoshop Cs4.
Visuals for Night club event.
Using footage from various flight training videos.
Watch preview here
Motion/ Concept/ ID :
Within 'Somewhere' We are transported to a time where the boundaries between what is real and what is simulated are blurred. We live online and download places to relax, parks and shopping malls. We can even interact with our friends as if they were in the same room with simulated tele-presence. Everyone is connected and immersed in nanorobotic replications of any kind of object or furnishings, downlodable on credit based systems. Distance and time become as alien as the 'offline' The local becomes the global and the global becomes the local. Consumer based capitalism has changed forever. A truly 'glocolised' world. The singularity is near.
The film places us into this vision, observing an average inhabitant within the ever changing environment of the latest SimuHouse. From a painting to a park and from a telephone call to a shopping mall. That is until there is a leek in the system and everything malfunctions. The film concludes with the house being forced to reset, giving the character and viewer a stark reminder that nothing is 'real' even her dog, which re-materialises in front of her.
CREDITS:
Directed By: Paul Nicholls
3D, 2D, Tracking, Post Production, Compositing, Camera Work: Paul Nicholls
Cast: Indre Balestuta, Iffy
Sound Design: Jesse Rope
Narration: Robert Leaf
Greek Vocal Talent: Lia Loanniti
Serbian Vocal Talent: Mina Micevic
Store Voice: Guillaume Nyssens
System Voice: Anita Shim
Music By: Kourosh Dini, Twighlight Archive, Pete Berwick
OFFICIAL SELECTION: Onedotzero, Alphaville
VISIT MY SITE: WWW.FACTORYFIFTEEN.COM
Watch this video on Vimeo. Video created by Paul Nicholls.