De Longhi’s Artista Series w/ Damien Correll

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Artist/Designer Damien Correll has recently been commissioned to add his signature touch to De’Longhi’s Artista series of high-end espresso machines. High-five to us for beating Kanye’s blog to the punch on this one.

Damien also collaborates with Vancouver, BC based RadioZero designing accompanying pieces for their internationally renowned podcast series (think disco, synth-pop & balearic beats a la Beats in Space or D*I*R*T*Y Podcast). His work has also graced the pages of XLR8R, New York Magazine, and Juxtapoz among other publications. Make sure you cruise over to Damien’s website to scope out the rest of his collage/cut-n-paste inspired designs. 

-Matthew Owchar

Some of Damien’s other work:

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Sea Monster Animation

Hi guys,
Here’s my last work I made using Maya and Realflow.
Here’s the download link to the little animation,youtube link and a little grab
from the movie.
Hope you’ll like it.

VIDEO ON YOUTUBE
http://www.youtube.com/watch?v=24PErcZ7bFk

Download Link:
http://www.easy-share.com/1903916920/SM.rar

Attached Thumbnails
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Cloud/Fluid Rendering problem

I’m trying to render out a sequence of frames using the cloudcurve fluid example from the Visor. I can get a single frame to render normally at different points along the timeline but every time I try and do a batch render of a sequence of frames it results in blank frames being rendered out.

Any idea what’s going on here?

I can provide the project file (maya 2008) if you’d like to take a look at my settings.

Cheers,

Andy

‘Terminator Salvation’

[NEWS=”http://www.cgnews.com/wp-content/uploads/terminator_skull_thumb.jpg”]18937[/NEWS]‘Terminator Salvation’, the fourth in the Terminator film series, is being touted as a science fiction post-aolcalypitc war film, and is the creation of American director McG. ‘The Terminator’, released in 1984 and directed by James Cameron, was followed by two film sequels and a TV series: The Sarah Connor Chronicles. Now with talk of two further instalments in the pipeline and Christian Bale signing up for a total of three Terminator films; things look promising for a second Terminator trilogy. ‘Terminator Salvation’ is set in post-apocalypic 2018, where John Connor is the man fated to lead the human resistance against Skynet and its army of terminators.

But the future that Connor was raised to believe in is altered in part by the appearance of Marucs Wright, a stranger whose last memory is of being on death row. Connor must decide whether Marcus has been sent from the future, or rescued from the past.

As Skynet prepares its final onslaught, Connor and Marcus both embark on an odyssey that takes them into the heart of Skynet’s operations, where they uncover the terrible secret behind the possible annihilation of mankind.

Visual Effects for the movie were undertaken by Industrial Light & Magic (ILM), with Asylum fx and Rising Sun Pictures bringing their skills to various sequences.

Speculation has been rife on the subject of Arnold Schwarzenneger, the original terminator, making a cameo appearance in the film. Recent comments from director McG indicate that he is working hard with ILM to bring Arnie back in digital form only.

Quote:

“The T800s as we know them look like Arnold [Schwarzenneger]. The T800 plays a big role in this movie.. I can’t quite tell you how we express that …. what we’re trying to do is create visual effects and write code that’s never been written before …. we’re working very diligently on going up to ILM in San Francisco ….to address this very nature.”
(MCG -The Playlist)


Wishing to avoid comparisons with the Transformers franchise, McG has stated “Transformers is an excellent movie, but our film is not about big robots. I wanted it to have lots of hardware and velocity, but I didn’t want to hang the whole movie on it.”

In addition to the brilliant CG work generated for ‘Terminator Salvation’, McG contracted Stan Winston studios to create real life models of some of the terminator characters that the human cast could interact with.

Stan Winston, the special effects pioneer who designed the original Terminator endoskeleton, worked on Terminator Salvation prior to his death in June last year. McG intends to dedicate the moive to Winston’s memory.

Joseph “McG” McGinty Nichol is a film & tv producer and director. His previous work includes the blockbuster film ‘Charlie’s Angels’ and notable commercials for GAP and Coca-Cola.

Terminator Salvation will be released in the US on 22 May and in the UK on 5 June 2009. It will compete for box office success with the forthcoming Star Trek, also due for release in May 2009.

About Industrial Light & Magic

Since 1975, Industrial Light & Magic (ILM) has been providing post-production visual effects services to the entertainment industry. Motion pictures, commercials, trailers, music videos and special venue projects have utilized ILM’s unequalled artistry in techniques such as model making, matte painting, computer-generated imagery, digital animation and a variety of related processes required in the production of visual effects.

Groundbreaking software required for digital image production has been developed and shared with the industry at large and adopted by other companies and software manufacturers. ILM regularly consults with some of the industry’s most highly regarded filmmakers on proof of concept tests. ILM has been associated with fourteen movies which have earned the Oscar for Best Visual Effects and has been awarded seventeen technical achievement awards from the Academy of Motion Picture Arts and Sciences.

CAST
Christian Bale – John Connor
Anton Yelchin – Kyle Reese
Sam Worthington – Marucs WRight
Bryce Dallas Howard – Kate Connor
Moon Bloodgood – Blair Williams
Common – Barnes
Jadagrace – Star
Helena Bonham Carter – Serena
Roland Kickinger – T-800
Chris Ashworth – Richter
Chris Browning – Morrison
Jane Alexander – Virginia
Michael Ironside – General Ashdown
Linda Hamilton – voice
Michael Papajohn – Carnaham
Beth Bailey – Lisa
Anjul Nigam – Rahul
Babak Tafti – Malik

CREDITS

Director – McG
Producers – Derek Anderson, Victor Kubicek, Jeffrey Silver & Moritz Borman
Original Music – Danny Elfman
Cinematography – Shane Hurlbut
Production Design – Martin Lain
Distribution North America – Warner Bros
Distribution International – Sony Pictures Entertainment

RELATED LINKS

http://terminatorsalvation.warnerbros.com
http://www.ilm.com/
http://www.rsp.com.au
http://www.asylumfx.com

Words:

CGNews Network

Sources:
Terminator Salvation official website
The Playlist

Comingsoon.net

Brand New School Expans & Folds For Toyota

[NEWS=”http://www.cgnews.com/wp-content/uploads/bns_toyota_thumb.jpg”]18936[/NEWS]Brand New School recently completed work on a whimsical and eclectic spot via Saatchi & Saatchi for the Toyota Rav4 sport utility vehicle. Co-directed by Brand New School’s Jonathan Notaro and Eric Adolfson, the 30-second spot uses vibrant locations, an attractive cast, and some (literally) mind-bending visual effects to transform the urban landscape with elegant efficiency. Opening with a bright red Rav4 driving down a typical-looking street, we see the vehicle approaching a gas station.

As the car rolls past, the accordion-style canopy hovering over the pumps literally folds into itself, dropping it and the rest of the gas station into the earth. Just as quickly as the station sank into the earth, a multi-tiered fountain springs up. The reference to the Rav4’s admirable fuel efficiency is quickly and elegantly achieved.

Quote:

“The initial treatment for the spot called for a simplified 2d folding approach, which we then expanded on, incorporating other fold- related influences including Mad Magazine¹s famous fold, and more recently Beck’s music video ‘Girl’,” says Notaro. “We brought a more complex feel to this idea by incorporating different perspectives and moving cameras while the folds were happening, and the scenes transforming. We wanted to use this fun expanding and collapsing canvas to emphasize the RAV4’s features, and also as a transitional device. We had to be careful in our design of the folds, and choreography of the talent wand the camera, knowing that whatever we conceived, needed to be achieved in 1 ambitious shoot day”.


To highlight the car’s interior room, a group of young people emerge from an urban café, unfolding like paper dolls as they do so. As they approach the Rav4, the airbags included in the vehicles Star safety system fold into themselves like delicate pieces of origami-style paper.

As the car prepares to drive away, the street itself folds in on itself, swallowing a long line of competing SUVs. Finally, the urban architecture collapses together, accordion-style, revealing a verdant landscape bathed in golden-hour sunshine.

Quote:

“We were determined to use realistic folding techniques in the spot, to give it that elegant, honest and inventive feel,” says Adolfson. “The scene with the airbags gave us a great opportunity to employ this radial, origami-style folding in a clever way. In order to get a sense of how these structures would, or should, fold in on themselves, we actually took to folding little maquettes out of drawings and location photos, just to see what would look best. We tried to be very true to actual folding patterns, and even scouted out locations on architecture that seemed like it could be folded. It was a lot of fun in the end.”


www.brandnewschool.com
www.toyota.com/rav4/

Bocamotion.tv : update

All new site and reel up at Marcos Ceravolo’s site Bocamtion.tv. Impressive motion and boards to check out.

Thaipographik : helveticake

Check out the work of last year’s FITC Best Canadian Designer John Thai. Alot of great work in print and interactive, epsecially love the Helveticake.

Monkeyhead : Red Bull

Title Sequences and Graphics Package for “Red Bull Big Tune” Documentary Web Series and TV Special.

Framestore Create E*Trade Wings (Superbowl)

[NEWS=”http://www.cgnews.com/wp-content/uploads/etrade_wings_thumb1.jpg”]18935[/NEWS]The challenge with the E-Trade baby is – as it is with any well established (and loved) character – to move him on without losing the qualities that endeared him in the first place. Agency Grey Worldwide (NY) and Director Randy Krallman for Smuggler have done this triumphantly in two new spots that they unveiled during the 2009 Super Bowl. 401K and Wings both feature our youthful hero (voiced, as previously, in a superbly laid-back performance by the director) but in each case there is a second character – a golfing rival and a keen amateur vocalist.

To add more would be to spoil the fun, but suffice to say that the droll tone is once more note perfect. Senior Flame Artists Alex Thomas and Raul Ortego led Framestore’s efforts, supported by Tom Leckie and Mindy Dubin.

Quote:

“As with Trading and Banking, we had a large task to complete in a very short time. The new elements of a longer monologue and interaction with a second character added to the challenge but, as always, our amazing team of Flame Artists delivered brilliant work.” Laney Gradus Head of Production, Framestore



About Framestore

Framestore has been working in digital film and video for over 20 years now, creating original and astonishing work that has helped make it the largest visual effects and computer animation studio in Europe.

Amongst Framestore’s notable commercial credits are Smirnoff Sea (winner 2007 VES ‘Visual Effects in a Commercial’, The Chemical Brothers The Salmon Dance, Casino Royale – Title Sequence, Vauxhall C’mon campaign , Sure Go Wild, Guinness noitulovE, Johnnie Walker Fish, Levi’s Odyssey and Guinness Surfer.

CREDITS
Agency: Grey Worldwide
Chief Creative Officer: Tor Myhren
Executive Creative Director: Noel Cottrell
Creative Director: Paul Behnen
Executive Producer: Alison Kunzman
Art Directors: Paul Behnen, Amy Ferguson
Copywriters: Eli Terry, Randy Krallman
Agency Executive Producer: Bennett McCarroll
Agency Producer: Alison Horn
Production Company: Smuggler, New York
Director: Randy Krallman
Editorial: Joshua Berger @ Cosmo Street
Visual Effects: Framestore
Graphics: Speedshape
Audio: Sound Lounge

RELATED LINKS

www.framestore.com

www.grey.com

David O’Reilly: Please Say Something

If you keep tabs on our Quickies, you saw fans of David O’Reilly’s “Please Say Something” pleading with us for a more detailed look at his amazing short film.

pss

Motionographer community, you’re right. It’s a brilliant piece of art, and we’re glad to hoist it up and interview the man himself.

Unlike Octocat (O’Reilly’s output under a teenage pseudonym), Please Say Something is a sinister story of love. Characters shuffle between states of consciousness, explore O’Reilly’s common theme of absent love, and live in a crudely rendered world that feels simultaneously empty and lush.

Doing what other people don’t is how O’Reilly rolls. Narrative risk-taking, boldness in aesthetic simplification, and self-imposed creative rules lead to epic creation. PSS is strange, insanely original, and some of the most authentic storytelling you’ll ever see.

Read our interview with David O’Reilly here.

Posted on Motionographer

David O’Reilly: Please Say Something