Hasta La Motion!

How To Feed The World is a 9-minute film directed by Denis van Waerbeke for an exhibition called Bon Appetit at a science museum in Paris. It’s mainly aimed at kids aged 9 to 14, so the tone is slighty educational, but the inventive graphics and energetic animation keep the tone light and funny, while also illustrating a serious situation.

Much like Jonathan Jarvis’s excellent Crisis of Credit Visualized, it takes a complex problem and clearly explains the issues while also showing viewers a solution using easily digestible (if you’ll pardon the pun) graphic system. Take a look!

Credits:
Directed by Denis van Waerebeke
Co-written with Sabrina Massen

Design : Montag

Animation : Juliette Hamon-Damourette

Sound Design : Ruelgo

Voice :
Michel Elias (french)
Mark Jane (english)
Andrea de Luca (italian)

CSI team:
Dorothée Vatinel,
Maud Gouy,
Manon Courtay,
Alisson Boiffard

CSI Producer :
Sabrina Massen

Produced by Montag

Posted on Motionographer

Another response to the issues that the VFX Townhall have brought up, Scott Squires writes a long post on what he sees as the big picture of the visual effects industry. This is required reading, folks, there will be a test.

When I think of a service I think of a dentist, a car shop where they work on your car or a plumber that comes to your house. In these cases they do work but don’t tend to produce anything. The costs are based on time and materials.

Custom manufacturing?
Should vfx be considered as custom manufacturing? We actually create something when we finish our work, whether it’s from scratch or a montage of material provided. That’s what the studios want, not the actual service part.

Here is where things get crazier. Each shot is unique like a snowflake. It’s own little world of issues, handwork and tweaks. You try like anything to make shots as consistent as possible and to be able to run them through the exact same process but it’s never full automated. For all the talk about computers in our business it’s still a very labor-intensive process. The number of people and the time required to do a shot from start to finish would astound most outsiders.

If you go to most manufactures and request custom work you will be required to make specific requirements in writing. (I.e. you want cabinet style 32 but in this specific color of blue. You want a custom cake that says Happy Birthday. It will be yellow cake with vanilla ice cream and chocolate frosting.) And that is what you will get. They seldom show you the work in progress or have your input at every single stage. The other thing is a custom manufacture will tell you when it will be done. They dictate the schedule. In the film business it’s the opposite of all of this. The studio specifies when the delivery will be. It’s almost always less than the time that would have been arrived at by a normal scheduling process for the facility.

Scott wrote another article tonight which is equally worth your attention: Unions

I know some people are concerned a union will cause studios to leave the area and go elsewhere. Hey, it’s already happening without being a union and if you’re working under poor conditions or getting substandard pay it does it really matter if they leave?

Posted on Motionographer