If you are lucky enough to make it to Cannes this year, then you might also be lucky enough to attend Psyop’s Workshop: “Blurring the line between art and commerce in advertising. An exploration of the process.”; Wednesday 24th June at 15:00-17:00. Speakers are Justin Booth-Clibborn, Marie Hyon and Marco Spier … “This workshop will […]
Hicky tapped into Borge’s style and technique with DUCK’s ever-growing resource pool to lead a large crew of animators, VFX artists, and editors to assemble the multimedia music video. After a bike-riding hipster accidentally runs into a beret-wearing girl at an art museum, they exchange numbers and a romance unfolds through a series of treated live-action footage and stills, in which the new couple texts and enjoys intimate interludes on a park bench and Ferris wheel. The photo real cutaways of the couple”s love story were filmed as photo stills and then brought into After Effects to apply and design a unique treatment.
As the narrative cuts back and forth between the young lovers and Urban’s band rocking onstage in Nashville, animation enhances the narrative, with stick-figure birds fluttering across the cityscape and transforming into hearts, animated power lines, and a fantastic amusement park complete with roller coasters and a tent-filled midway. Borge co-directed and designed the animation and abstract urban treatment applied to the live-action performance footage.
“A project like this is deceptively complicated,” noted Hicky. “What seems like a straightforward stage shot and narrative is actually a multilayered project when the treatment is applied to strike the exact tone that a celebrated artist like Keith Urban expects. DUCK did an awesome job of taking the various types of footage, mixing in the treatment and the FX, and putting together a pitch-perfect final project.”
“DUCK is growing all the time, and this video is a great showcase of our latest capabilities,” stated Mark Medernach, DUCK EP. “When you’re working with a known director like Chris Hicky, you don’t want to disappoint, and I’m really proud of our team for coming through on this one, especially given the high-profile nature of the final product.”
The video’s intro features original art direction and design by DUCK’s directing team YellowShed (Todd Hemker and Soyeon Kim).
About DUCK
Los Angeles-based DUCK, formerly Duck Soup Studios, is a continually evolving creative studio producing commercials, music videos, short films and web content. DUCK offers a wide range of services, including live action and integration, character design, film title design, 2D and 3D animation, digital compositing, digital/traditional ink & paint. In recent years, the studio has expanded, adding an original content division that works with writers and animators on unique ideas for film and TV.
Credits
Artist: Keith Urban
Song Title: Kiss A Girl
Air Date: June 2009
Prod Company: DUCK
Live Action Director: Chris Hicky
Animation Director: Richard Borge
EP: Mark Medernach
Art Direction/Design Directors: YellowShed (Todd Hemker and Soyeon Kim)
Shoot Location: Nashville
Related Links
www.duckstudios.com
www.keithurban.net
If you have shots which are done on a digital format camera of some sort, how do you find out what the equivalent filmback length is, and do you actually need it for a good solution ?
(other measurements have been taken such as focal length etc)
And secondly, what happens when you have shots that have come from a 35mm adaptor fitted to a digital camera, I presume the filmback is then coming from the adaptor ?
I’m trying to find out because I have some shots which are closely matched but I’m presuming this will create an even more solid match for me ?
http://www.fxguide.com/article540.html
enjoy!
PERSONALLY I would just cut my picture into those pieces (that could be a lot of work) and then make each one a 3d layer and spin each one around that way.
NOW the problem is my method might be a lot of work and I need to be able to replace the picture with ANY picture which wouldn’t work with my method it seems.
Got any idea?
I’m already toying around with the Shatter tool but I’ve no idea how to make parts spin around that way on their own. This also might be a completly wrong way and you might have a better idea.
Adam Kimmel’s lookbook for Fall / Winter 2009 puts Factory alum Gerard Malanga behind the lens to recreate Warhol’s famously awkward screentests from so many decades ago. Stacked from top to bottom with familiar and talented faces, all methods of artistic expression get screentime as Kunle Martins, Matthew Barney, Francesco Clemente, and Glenn O’Brien – to name a few – sit on the hot seat in heavily shadowed awkwardness. Oh yeah, and the clothes are pretty awesome too. Check em out HERE.
Viral Augmented reality site which uses augmented reality (AR) and face tracking technology so Transformers fans can picture themselves with the original 3D CGI head of Optimus Prime.
As normal my teammate render out a EXR sequences which contains a collection of pass included Object_ID. We used 3DSMAX and V-Ray to render result out.
I do the compositing job but I dont know how to step by step select an ID from VRay_ObjectID to do color correction, my friend demonstrate for me how to take out ObjectID and do color correction in FUSION just 1~2 breaths, but for Nuke I have to search through this forum and google a lot, but most of the replies focus on download Gizmo and install, but all the Gizmo works look like just a key, when I use these Gizmo the problems appears immediatly because of the object edge, the mate can not knock out what I selecting like a real alpha channel.
Is there any way that I can do this in Nuke as a simple way like Fusion ?
Thansk all,
http://www.giantsteps.us/vinamilk
Michael
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