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片頭配樂選歌：FLUX《來自1960》
配樂歌詞選段：「想要回去聽 真實演奏的聲音」
入圍影片宣言：抓得住，不怕美好稍縱即逝
入圍影片配樂選用FLUX《來自1960》，以「真實演奏的聲音」呼應音樂帶來的當下美好，音效場域彷彿置身於舞會現場，人與人之間的社交、互動、歡笑、杯盤碰撞，並加入數位音效象徵科技帶來人類關係互動的轉變，營造復古和時尚之間的差異，和諧的衝突感呈現優雅又幽默的互動感受。
數位時代讓人際關係經營更加便利，每個互動都是絕無僅有的此刻，誠如舞會畫面中飄動的like/unlike、follow/unfollow字樣，擁抱真實的關係情感，不再對於美好消逝感到恐懼，不再覺得失去是捨不得，美好，抓得住，真實的生命經驗無憂失去。
插畫設計：楊謹瑜 Vita Yang
動態設計：混合編碼 MixCode studio
片頭配樂選歌：Crispy脆樂團《色香味俱全》
配樂歌詞選段：「都加了些什麼？（塑化劑 硝酸鹽 三聚氰氨）能不能對我說？」
入圍影片宣言：吃，吃得出良心
You are what you eat. 片頭配樂選用脆樂團《都加了什麼》，其中悄悄話般的歌詞，宛如食安問題隱微卻漫步在生活各角落的狀態，也象徵編曲製作內容充滿各式隱微細節。影片音場音場置身於類似畫面中擁有水泥牆壁的實驗室中呈現明亮而清晰效果，並選用各式料理過程中會出現的聲響，刀落在粘版下切菜的節奏、油鍋、水煮、柴米油鹽醬醋煎煮炒炸的餐飲日常，透過生活中的細節聲音體驗營造餐飲與化學添加物的衝突感。
影片主角烹調料理細細呈現食品安全在當代台灣面臨的問題，如何在飲食中真正健康且尊重自己身體的需求？吃下肚的怎能沒有良心？怎能對添加物與黑心食品輕易妥協？食物建構了我們的生活、我們的家，我們的未來。
插畫設計：王春子 WangChuenTz
動態設計：許峻良 Jim Hsu
i'm very satisfied with how the first draft turned out. i promise it would look so much better when it's done. stay tuned! ;-)
Unleash the power of animation in your classroom!
This video introduces educators to Apple Motion, a user-friendly motion graphics software that can transform your teaching experience by making complex concepts accessible and engaging for students.
Learn how Motion can help you:
- Develop dynamic, professional-looking multimedia content to captivate your students
- Visually explain complex topics in an engaging way
- Quickly customize learning materials and supplementary content
- Visualize scientific concepts
Discover the software's features, its cost-effectiveness for educators, and get inspired by real-world examples.
Take your lessons to the next level and ignite a passion for learning with Apple Motion!
Thanks for the comments, faves and visits
To see more of my 4K videos please see my Video Website: vimeo.com/randyherring
To see more of my 4K HDR videos see my channel: www.youtube.com/@hherringtech
Thanks for the comments, faves and visits
To see more of my 4K videos please see my Video Website: vimeo.com/randyherring
To see more of my 4K HDR videos see my channel: www.youtube.com/@hherringtech
Meat Market is a reflection of what extremes men go to try to meet women.
No matter what the circumstance, the male may have no arms or legs, if he is put in a room alone with a woman he will still try his best lines on her.
Join us in one of these situations where Adam is attempting to seduce Eve with no better material than 'Animal mating habits'...
. Will Adam succeed where other men have literally fallen flat on their faces, or will he just be another failure, destined to grovel at Eve's feet?
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Meat Market is a reflection of how women have been and are being objectified.
Pressure for the body beautiful these days could find you in an expensive 'Meat Market' looking to sell or buy spare body parts. You too can preserve donated parts in your local plastic surgeon's freezer, waiting for the day you need a new face or arm.
Meanwhile some of our body parts are having fun, treating the freezer as if it were a night club. Adam does his best to corner and tantalize Eve in an age old game of love and seduction. He brings up the most absurd examples to try and woo Eve in a sad attempt of flirtation.
There is no escape for Eve as she is showered by Adams requests. She has only her wit to out smart Adam.
CONCEPT
"Meat Market" examines inherent violence in our society today, coupled with the desire of looking beautiful at all times. This film deconstructs the 'horror' genre rendering it a sophisticated "black comedy'.The idea stems from the notion that men will try to seduce their object of desire in any situation, even when they are dead or are violently incapacitated:
What will happen to society if people keep changing their faces? Will there be stock faces that people can choose from? These are some of the issues underlying "Meat Market"
The themes touched on in this film question the importance of cosmetic surgery and its worth, how it is bought and sold and what effect it has on society.
We are exploring the possibility that plastic surgery is not as important as we make out and that it can be dangerous and violent.
DESIGN
All of the backgrounds, props and scenes in "Meat Market" are 3d animation. All of the faces are live, thus creating a live action 3D animation. On first viewing one does not realize that they are not watching live locations and that the entire film was done using 3D technologies.
We have created a world that looks real from the outside, but is artificial in reality. This is parallel with the underlying cosmetic surgery issues, inherent in the film.
MEAT MARKET SCREENINGS/AWARDS:
Hollywood Film Festival 2005
( Nominated best film)
Icastelli Animati -- Official selection
MUFF 2004(Melbourne Underground film Festival) -- Winner Best short
AVA -- WINNER Gold medal -- Australasian Video Awards LA International Film Festival Alameda Film Festival (San Francisco)
Sour Grapes
In The Realm of The Senses (winner Bali screenings)
Fiztroy Shorts
Love your work
Canal + (French TV)
Net TV ( mobile shorts)
100% Art Festival Israel 2005
Pedrito Film festival -- South America
The Other Film festival 2004
Cast
Lacey Fitzgerald
Todd James
Matt Osbourne
Hamilton Moore
Melissah Commens
Ryan McCarthy
Paul Farrell
Watch this video on Vimeo. Video created by Remo Camerota.
Watch this video on Vimeo. Video created by Plenty.
Directed by: Plenty™
Art Director: Pablo Alfieri
Animation Director: Mariano Farías
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Design: Pablo Alfieri
3D Animation: Mariano Farias & Sebastian Livingston
3D Rendering & Lighting: Mariano Farias & Sebastian Livingston
Compositing & Postproduction: Mariano Farias
Montage & Edition: Mariano Farias
Production: Inés Palmas
Sound Design: Santiago Lazarte (DeSant)
Client: Fox International Channels
Fox International VP'S: Florencia Pico
Fox Branding Director: Mariano Barreiro
Fox Art Director: Natalia Español
Year: 2010
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.
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
Look out honey, cos I'm using technology....
Jam Factory man about town & design warlock Gav Strange launched his new quintet of Droplet vinyl toys last Saturday, complete with a batch of 50 customised versions from various art & design goons from up & down the country. He sent me over an Illustrator file to make some sort of animation & this is what I did to sexify it with C4D & AE.
Get on down with the interweb geekout at www.jam-factory.com/droplet/ and the
Full-length video available at vimeo or youtube (full HD 1080p).
פרויקט הגמר שלי במחלקה לתקשורת חזותית בבצלאל. אריזה גרפית למהדורת חדשות ישראלית מרכזית של השעה שמונה בערב בהיי דפינישן.
תודה מיוחדת ללילך סונין, עפר קרמר, חברת החדשות, אביטל צייטלין וערן יובל.
My final thesis project in the Visual Communications department of the Bezalel Academy. A graphic package for a main Israeli 8pm news edition in full High Definition.
Special Thanks go to Lilach Sunin, Ofer Kremer, Israeli Channel 2 News Company, Avital Tseitlin and Eran Yuval.
Carburando, the main company that spreads the Argentine motor racing, summoned us to create the openings of its major categories.
The first one was for the exciting TC Track, the most popular category in Argentina, where the rivality is only comparable to that of soccer teams. 4 different brands, incredible popular in the 60's and 70's are part of the competition: Ford's "Falcon" "The Chevy" of Chevrolet, "The Dodge" of Dodge and "The Torino" of Renault.
It is a fight to death among gladiators, who arm themselves in their caves and go out as beasts to the meeting in the track race. They will measure themselves in a hand-by-hand fight in a dark and surrealistic scene.
It only lasts 35 seconds, but it ask for more. Maybe the story will have its end soon.
Directed by: Plenty
Art Direction: Pablo Alfieri
Animation Direction: Pablo Alfieri & Mariano Farias
Concept: Mariano Farias
Car Designs: Mariano Farias, Pablo Alfieri, Juan Martin Miyagi
Compositing & Postproduction: Mariano Farias, Pablo Alfieri
3D Modeling & Textures: Daniel Bel, Pablo Molina, Juan Martin Miyagi
3D Rendering & Lighting: Daniel Bel
3D Animation: Pablo Molina, Cristian Fieiras
Montage & Edition: Mariano Farias, Pablo Alfieri.
Production: Ines Palmas
Year: 2011
Client: Carburando TC
Production Manager: Emanuel Angeli
Sound Design: Indigo Musica
Watch this video on Vimeo. Video created by Plenty.
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.
Creative Director and co-founder of the design-driven creative agency Buck, Digital Design grad Ryan Honey recently made a return to VFS. Ryan spent a week sharing his experience and advice with current students.
Read more about Ryan's visit on the VFS Blog.
Find out more about VFS’s one-year Digital Design program at vfs.com/digitaldesign.
A project in a "Title Sequence" course i took in visual communications department in Bezalel academy. Our assignment was to choose a book and create a title sequence for a film/series based on it. I chose "Boomerang" by Raviv Druker and Ofer Shelach, a book that deals with the failure of the leadership in israel concerning the second intifada.
הגשה סופית בקורס "טייטל סיקוונס" במחלקה לתקשורת חזותית בבצלאל. יצירת פתיח של סרט/סדרה המבוססים על ספר לבחירתנו. הספר שבחרתי - "בומרנג" של רביב דרוקר ועפר שלח, העוסק בכשלון המנהיגות הישראלית באנתיפאדה השניה.
המוזיקה באדיבות עירד אשל.
We're hoping [with fingers crossed] the preeminent John Walters is going to provide the books introduction.
View Production Stills on Flickr:
www.flickr.com/photos/bentimagelab/sets/72157622256680339/
www.flickr.com/photos/bentimagelab/sets/72157619746721753/
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The indie rock band Modest Mouse is getting the royal treatment from Bent Image Lab’s new director/partner Nando Costa. Just completed, the band’s new music video is a dark and expressive piece of film-making. Heavily rooted in live-action, the impressive six-minute video includes intense moments of stop motion, visual effects, and motion graphics techniques, all brought to life within the studio’s walls.
The visuals follow an artist who enters his personal sanctuary where he is presented with a hand-crafted drawing tool that assists him in materializing his mental impressions. Through drawing circular patterns, the machine discharges an endless web of yarn that guides him through his visual representations of his memories. The story progresses to reveal that he is divided between two worlds, one of dull reality and the second of warped memories. In the process of finding a way out of his consciousness, he is trapped between the two competing spaces, which eventually inflict lethal damage, acting as metaphors to self-destruction.
This lyrical and moving piece was conceived by Nando Costa working closely with lead singer/guitarist Isaac Brock to polish some of the film's intricacies. Featuring a seamless combination of live-action and stop motion that alternates between stage shots of Modest Mouse and a spiraling dream-like world of ever-shifting landscapes, Whale Song is a stunning representation of the combined capabilities of Nando and Bent. The variety and execution of the VFX portions of the video – from yarn reeling into complex patterns to a guitar that plays with no musician attached – strongly evoke the confused and surreal patterns of one's warped memories. Additional creative touches such as animated and intricate photographic collages and giant CG snails sliding across the band's stage – add variety and depth to the surreal world.
“This new video is the perfect showcase for the benefits of the collaboration between myself and Bent,” noted Costa. “I typically wouldn't have created a film with this much live-action or stop motion, and Bent also wouldn't normally approach a project with such a strong motion graphics influence, which is what I have long specialized in. With such well integrated in-house teams, I can’t imagine that there’s a project out there that we couldn’t pull off.”
One of the challenges in Whale Song was to recreate the contours of an ever changing, disorienting and intriguing series of landscapes. Costa shot the majority of the piece with Bent’s RED One cameras, which came in handy for their 4K capabilities when adding camera movement in post. In order to create the feeling that lead singer/guitarist Isaac Brock was being split up between two competing scenarios of pure reality and his imagination, for example, Costa mounted two of the RED cameras side by side on a custom plate, each with identical lenses set at an angle to simulate a stereoscopic effect.
In another instance, band members that appeared to be standing on the ground were actually hoisted aloft and secured to a fake ground plane, which meant that the stage floor was perpendicular to the ground. This situation intentionally restrained their flexibility and shifted the gravity, adding oddness to their movements.
Costa used a variety of frame rates, ranging from time-lapses at 6 frames per second, to 1000 fps shots from a Phantom camera to give the feeling of variety of speed in the character's memories. Blue screen stages were used extensively to place Isaac against the varying landscapes of mountains, dense forest valleys, and deserts. Bent's CG department was also responsible for creating significant portions of the video's landscapes and scenic elements.
During production, Nando and his team relied solely on a very detailed script containing technical and creative notes, live-action and animation guidelines, with specifications for composting and stop motion, which were all previously defined and polished by the director. “From what I’ve learned, producing a project at Bent is a wonderfully self-contained experience,” noted Costa. “From building intricate props to figuring out complex CG shots, Bent has specialists in all fields. I’ll walk over to the stage for live-action, then back to compositing, load the footage and work from there. It makes the whole process immeasurably easier, and creatively freeing.”
“Seeing this video makes me feel good about what we’ve done here at Bent”, stated Bent EP Ray Di Carlo”. We set out to establish a creative clubhouse atmosphere where talented people like Nando could come to work. I’ve always admired directors who can hold a project’s final vision in their minds eye and are able to let the talents around them do their respective jobs for a projects whose creative whole becomes more than the sum of it’s parts, and that defines Nando. Seeing Nando come in, suddenly doing things that he wasn’t used to doing, and still delivering at a high creative and technical level, means that David, Chel and I were able to create a place where everyone learns others’ disciplines. That’s rare. It’s what we set out to do – what we originally wanted -- but when you see it work, it’s amazing.”
Concept:
After entering his personal sanctuary, an artist is presented with a hand-crafted drawing tool that assists him in materializing his mental impressions. The machine discharges his thoughts as an endless web of yarn that guides him through his physical thoughts. The story progresses to reveal that he is divided between two worlds, one of dull reality and the second of warped memories. In the process of finding a way out of his consciousness, he is trapped between the two competing spaces, which eventually inflict lethal damage, acting as metaphors to self-destruction.
Credit List:
Music: Modest Mouse
Animation Studio: Bent Image Lab
Director: Nando Costa
Executive Producer: Ray Di Carlo
Senior Producer: Tsui Ling Toomer
Producer: Kara Place
Production Coordinator: Ryan Shanholtzer
Director of Photography: Bryce Fortner
Motion Control Operator: Jim Birkett
Gaffer: Adam Burr, Jim Birkett
Phantom HD Technician: Benji Brucker
Production Assistants: Andrew Ellmaker, Charlie James, Esa Di Carlo, Morgan Hobart, Samuel Moyle
Kinetic Sculptor: Ben Hopson
Set Designers: Nando Costa, Solomon Burbridge
Set & Prop Fabricators: Daniel Miller, Eric Urban, Greg Fosmire, Jamie Hanson, Jen Prokopowicz, Justin Warner, Kimi Kaplowitz, Marty Easterday, Sarah Hoopes, Solomon Burbridge,
Art Department Coordinator: Evan Stewart
Art Department Intern: Jessie Weitzel
Carpenter: Drew Lytle
Graphic Designer: Nando Costa
3D Lead: Fred Ruff
3D Artists: Eric Durante, Shirak Agresta
2D Animation & Compositing: Brian Kinkley, Brian Merrel, Jay Twenge, McKay Marshall, Nando Costa, Orland Nutt, Randy Wakerlin
Rotoscoping: Ben Blankenship, Randy Wakerlin
Compositing Intern: Dustin Dybevik
Stop-Motion Animation: Jen Prokopowicz, Marty Easterday
Still Photography: Jared Tarbell, Nando Costa
Processing: Barbarian Group
Behind The Scenes Photographer: Ben Blankenship
Special Thanks to: Isaac Brock, Darrin Wiener, Linn Olofsdotter
Links:
Band's Website: www.modestmousemusic.com
Band's Blog: www.modestmouse.com
Band's MySpace Page: www.myspace.com/modestmouse
Animation Studio: www.bentimagelab.com
Record Label: www.epicrecords.com
Contact Info:
Animation Studio: (503) 228-6206
EP: rayd@bentimagelab.com
Director: nandoc@bentimagelab.com
Press:
- Showcased at Seattle International Film Festival during "Bumbershoot"
- Premiered on Pitchfork.com
- Featured in Stash 61
Watch this video on Vimeo. Video created by Bent Image Lab.
Creative Director and co-founder of the design-driven creative agency Buck, Digital Design grad Ryan Honey recently made a return to VFS. Ryan spent a week sharing his experience and advice with current students.
Read more about Ryan's visit on the VFS Blog.
Find out more about VFS’s one-year Digital Design program at vfs.com/digitaldesign.
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 from the 'Fetish Objects' series by V5MT,
made November 2014 for Digital Sweat Gallery.
Released in an online group show January 2015.
➜ v5mt.tumblr.com/post/108113384452/checkkk-out-all-the-cra...
juan luis guerra Mi bendición
Director: Simon Brand
Producer: Miriam R Mateos
Editor: Ricardo Javier
Post: Freddy Morales, Marcela Perdomo
Watch this video on Vimeo. Video created by LUIS MORALES.