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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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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
TW reel made by our Motion and Graphic Designer friend Bruno Ferreira based on all our shirts designs.
brunographer.com
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.
Tormented by things he cannot control, our hero travels the streets at breakneck speeds, in hopes of possessing that which he can never know...
A Stop Motion made with Quicktime Pro, Final Cut Pro and After Effects. Shot on my Canon EOS 7D. Shot around Seattle. Special thanks to Unbearables cast and crew. Thanks to Mystic, Jeb and Mikalah who appear in my short film. Thanks to Anthony who was my partner for the traffic sequences. Special thanks to Die Antwood whose music is in the piece. Your off beat sense of humor really helps bring the piece to life.
Thanks to Phillip Bloom for your tutorial on assembling a time lapse. It works basically the same for stop motion.
Watch this video on Vimeo. Video created by Michael Kleven.
CMA Video filmed the opening of Winston's Whistle Stop Tour, the latest ride at Thomasland at Drayton Manor
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!!!
A short animation exploring all that we, as human beings, lose in our life time. From baby teeth to hair, virginity to motivation. We're all losers, after all!
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
This is the intro sequence to Wayne Rooney's street striker microsite. I created the graphics in Photoshop and working with my colleague Scott Bedford, the intro movie was created using After Effects and Trapcode Particular to create the 'Sin City' style rain and fog. We are both excited about the movie and would be interested to know what you think.
Watch this video on Vimeo. Video created by Bjorn Jansen.
© 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.
This is my final thesis project. I created info-graphic, motion piece. My objective is to make Japanese people to think about that everything happening here in Japan, isn't that normal. So I created this video from foreigner's point of view, rather than Japanese people's point of view.
Both English and Japanese versions are available.
By the way, please don't call me racist, because I am one of short, small eyes Japanese.
大学の卒業制作で制作した映像です。（日本語版）
日本で生活していると、当たり前すぎて気づかない「不思議な事実」を、海外で生活した経験も生かし、外国人の視点から統計とともに映像化しました。
笑いつつも、「なんか不思議だな」と考えてもらえれば幸いです。
日本語版と英語版を制作しました。
Watch this video on Vimeo. Video created by Kenichi.
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
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
FFEEUUDDAALLIISSMM is a digitally treated short film created by Underberbelly Film.
This film is a visual study presenting the work from the next generation of emerging fashion designer’s currently working in London, alongside established designers.
The designers involved in this presentation are: Oden Wilson, Satoshi Date, Ada Zanditon, Betsy Humfrey, Eve Lin, House Of Harlot, Manola Blahnik and Alexander McQueen
Underbelly Film is a London based motion graphics & film production company led by Matt Moate and Enamul Hoque.
FFEEUUDDAALLIISSMM:
Duration : 03:05 Min
Direction & Design: Matt Moate
Producer & Assistant Director: Enamul Hoque
Stylist: Claudia Behnke
Fashion: Oden Wilson, Satoshi Date, Ada Zanditon, Betsy Humfrey, Eve Lin, House Of Harlot, Manola Blahnik
Shoes: Alexander McQueen & Manola Blahnik
Make-up: Nichola Hamilton
Hair Stylist: Natalie Nelson
Beauty Assistant : Talisa Emmanuel
Assistants: Maciek Surowiak and Zerin Rustemoglu
Watch this video on Vimeo. Video created by Underbelly Film.
Atlanta Motion Graphics Festival 2010 :: July 9-11
Three days of educational, entertainment and networking events focused on the Motion Design, Sound Design and Motion Code, featuring artists such as: The Mill, Dvein, Pleix, Psyop, Herzog & De Meuron, Warp Records, The Crystal Method, Royksopp, Assassin's Creed 2, John Vorus, Johnn Jitters, Phylum Sinter, citizenGreen, LucasArts and many more.
STORE: store.pixelfilmstudios.com/product/prodivide-entertainment/
ProDivide Entertainment
Professional Divider Titles for FCPX
ProDivide Entertainment presents an inventive way to display information and titles by splitting media to reveal your text. Each preset is professionally designed with customizable text, backgrounds, and elements. Modify the split, type in any text and change colors as you please. Simplify your life with ProDivide Entertainment from Pixel Film Studios.
Compatible in any 16:9 project. (HD, 4K UHD, 5K UHD, etc.)
30 Professional Dividers
ProDivide Entertainment features 30 divider titles designed for Final Cut Pro X. This makes sure users have lots of variety when displaying info titles. Plus, each ProDivide Entertainment preset is totally customizable and adaptable to any project.
Split Footage
ProDivide Entertainment features a unique way of displaying titles and information. ProDivide works by creating a split in your media revealing underlying text. The split can be offset horizontally, scaled in or out, and angled to add more excitement.
Enter Your Own Text
ProDivide Entertainment allows you to replace preset text with your own. Changing the text is easy. Just select the current text. Delete it. Then, type in your new text. You can change colors, fonts, and much more.
On-Screen Controls
Each ProDivide Entertainment preset features a set of on-screen controls to help you easily adjust the size, position and angle of your selected design. Adjust the size of the outer ring to change the size of the preset. Move the handle in an arc to adjust rotation. Finally, click and drag the puck to move the focus group anywhere.
Change Colors
ProDivide Entertainment designs feature a wide variety of elements. Backgrounds, text, bars, and additional elements can all be changed using color pickers and gradient bars. Using these tools, new color schemes can be applied in seconds.
Customizable Animations
Each title is ready-to-use with pre-selected animations, but you can quickly change the animation of your title by selecting presets from drop-down menus. You can individually adjust the animation of any layer of text. Fine tune the animation on any design to your liking.
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