Buck: ChildLine “First Step”

London based YCN Studio commissioned animation company Buck to create this sensitively and delicate cell-animate piece in order to promote ChildLine, a UK-based, confidential, free, 24-hour counseling service for children and young people under the age of 19. ChildLine deals with any issue that causes distress or concern, one of which is unfortunately sexual abuse.


Credits:
Directed by: BUCK
Executive Creative Director: Ryan Honey
Executive Producer: Maurie Enochson
Producer: Ashley Hsieh
Creative Director: Joshua Harvey
Associate Creative Director: Joe Mullen
Designers: Joshua Harvey, Joe Mullen, Gunnar Pettersson
2D Animators: Laura Yilmaz, Kendra Ryan, Gunnar Pettersson, Claudio Salas, Matt Everton, Thierno Bah, Ege Soyuer, Zach Eastburg, Oliver Dead, Moses Journey
3D Artists: Yates Holley, Alex Dingfelder, Matt Everton
Compositors: Claudio Salas, Alex Dingfelder, Oliver Dead
Music and Sound Design: Antfood

Framestore: Sony 4K: Four Times the Details

Framestore delivers eight million petals in stunning 4K

Following on from Sony’s famous bouncing balls advert for its first HD television, the brand’s latest majestic demonstration of its technology by McCann London has been shot at 4K on its flagship F65 motion picture camera to show off the capabilities of its new 4K Ultra HD TV. For us that meant delivering four times the detail in just two weeks.



“It was really exciting to work on an iconic series of ads because the Sony commercials have been so strong over the years. It was nice to put a bit of a twist on that and take it to a new scale” says VFX Supervisor Russell Dodgson. Russell and CG Supervisor Martin Aufinger led a team of 12 people that worked around the clock to deliver this beautiful spot. It was graded by our Senior Colourist Simon Bourne, who helped the multiple passes fit together by keying and grading them to look the same.

“The director and the creatives wanted to keep the look real and not over grade or saturate it because it already looked brilliant.” adds Simon. Of course, four times the detail meant tonnes of data, especially as it was a multi-camera, high speed shoot. Compositing everything in Nuke was particularly helpful as we had the back-end support of the farm to handle all that data. “It looks fantastic” says Russell. “The thing that’s scary about it is that when I saw a 4K football match on the TV you could see someone in a wide shot getting chewing gum out of his pocket. It’s going to make crowd replacements a lot harder!”

Channel 4: Born Risky.

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Channel 4 stands up for what it believes in a new campaign designed to remind viewers of its remit and purpose.

We were set up to experiment, provoke and entertain, and to put our profits into our programmes. You may love us, you may want to punch our lights out, but we make programmes we believe in. We can do this because we were Born Risky.

Produced in house by 4Creative. Full credits here.

Andrew Vucko: Strength In Numbers

Great work from Toronto: Andrew Vucko and Nicolas Girard teamed up to create Strength In Numbers for studio Common Good.

“The Bear and The Hare” for John Lewis

UPDATE: The making of video is up, and it’s simply astounding:

The Making Of: The Bear & The Hare from Hornet Inc on Vimeo.

Yves Geleyn and Elliot Dear worked with the talented team at Hornet / Blinkink to produce this heartwarming story of The Bear and The Hare.

The style and content harkens back to classic English illustrated children’s books, and the campaign extends to other platforms such as interactive ebook, classic kids book and an Ipad app. I love the blend of 2D characters against the background which I’m guessing is a combination of miniature and 3D backgrounds.

From the press release: ‘The marriage of traditional hand-drawn 2D animation with stop-frame model animation creates a tangible world full of texture and detail that conveys the honesty behind the John Lewis Christmas message.’

Also a nice informative Guardian article about it here. 

Executive Producers
Bart Yates
Michael Feder
Producers
Bart Yates
James Stevenson Bretton
Josephine Gallagher
Line Producer
Kev Harwood
Production Manager
Benjamin Lole
2D Animation
Premise Entertainment LLC
2D Animation Supervisors
Aaron Blaise
Dominic Carola
2D Line Producer
Iris Pearson
2D Animators
Erin Humiston
Darko Cesar
Head of Clean-up 2D Animation
Janelle Bell-Martin
2D Clean-up Artists
Mi Yul Lee
Teresa Quezada-Geer
Jacque Pierro
Chad Thompson
Jason Peltz
2D Compositor/Scene Setup
Mac Masters
2D Artistic Coordinator
Pam Darley
2D Digital Artist
Anthony West
Enoc Castaneda
2D Lead Colourist/Coordinator
James Lancett
2D Colourists
Sean Weston
Joseph Sparkes
Frankie Swan
Harriet Gillian
Assistant 2D Colourist
Lila Peuscet
2D Illustrator Technician
Albert Sala
Printers
The Graphical Tree
Laser Cutting
Ewen Dickie
Designer/Typographer
Robert Frank Hunter
Storyboard Artists
Sav Akyuz
Steve Tappin
James Lancett
Robert Frank Hunter
3D Technical Director
Patrick Hearn
3D Previsualisation Artist
Simone Ghilardotti
Lucas Cuenca
Johannes Sambs
Lead Stop-Frame Animator
Andy Biddle
Stop-Frame Animators
Daniel Ojari
Daniel Gill
Production Designer/
Supervising Modeller
John Lee
Art Department Modellers
Colin Armitage
Sonya Yu
Maggie Haden
Collette Pidgeon
Yossel Simpson Little
Richard Blakey
Gary Welch
Christy Matta
Lucy Begent
Scenic Painters
Fiona Stewart
Beth Quinton
Rigging Department
Richard Blakey
Art Department Assistants
Morgan Faverty
Anna Ginsburg
Jennifer Newman
MOCO/Camera Assistant
Max Halstead
Director of Photography
Toby Howell
Gaffer
Aldo Camilleri
Runner
Robert Gould
Post Production
Blinkink Studios
Post Production/Compositing
Alasdair Brotherston
Ian Sargent
Carlos Diego
Jonathan Gallagher
Elliot Dear
Editors
Sam Sneade at Speade
Ellie Johnson at Speade
Sound Design
Sam Robson at Factory Studios
Colourist
Jean-Clement Soret at MPC
‘Making of ’ Film
Jake Hopwell & Josh Hine
Studio Manager
Elizabeth Day
Studio Assistant
Toby Goodyear

Catering
Laura Barbi
Advertising Agency
Adam & Eve DDB
Executive Creative Director
Ben Priest
Creative Directors
Aidan McClure
Laurent Simon
Agency Producer
Anthony Falco
Assistant Producer
Catherine Cullen

Posted on Motionographer

Animation For A Cause

Mexico City based animator & director Yaniv Fridman has launched an exciting new non-profit called Animation For A Cause. Promoting social causes through one minute animations. Creating visually engaging, message driven pieces that can work as a pledge for sponsorship, a fundraising tool, to advertise a cause or simply to engage viewers. Viewers who are only one click away from getting involved. Check it out, share it, make a donation.

ILOVEDUST –> GOLDEN WOLF

Did you know? After several years as I Love Dust’s motion department, a brand new entity has spread their wings and become Golden Wolf. Now focusing solely on animation, motion graphics and anything in between. Below, check out their recent MTV VS, where they geek out with neon and smashed glas for MTV UK as part of the branding for their Vs series. The ident will play across a number of their channels over the coming months.

Mill+ | Call Of Duty:Ghosts Cinematic

®Creative studio Mill+, the concept, design and animation arm of renowned VFX company The Mill, has contributed its visually stunning cinematics to Activision’s blockbuster Call of Duty: Ghosts, the new installment in the global phenomenon Call of Duty® series. Led by Cinematics specialists at Infinity Ward, Mill+ collaborated with teams of elite designers and visual effects artists in both their Los Angeles and London studios to create the cinematics players started seeing on Nov. 5.


The team at Infinity Ward had a vision for how cinematics could further help to bring the new narrative to life. Developing the look in collaboration with The Mill led to a new and unique level of cinematics that is sure to captivate and immerse players into the experience.

The highly-stylized look was created from scratch, but reads as a hybrid of live-action and CG. High contrast, sharp shard-like shapes distinguish enemy Federation forces from the light and smoke elements that characterize the underdog Ghosts. Each cinematic delivers a story, with “Loki,” for example, depicting a clinical and clean outer space vista using reflections, lights, flare and spills of light, while “Legends Never Die” uses explosions, fire, smoke and fog, looking down at South America, then at city level in Caracas after the demise of the continent.

Mill+ Creative Director/Director Paul Mitchell, based in Los Angeles, drew upon over a decade’s worth of experience in design and visual effects. “The most intriguing aspect of Ghosts was the opportunity to combine storytelling with design and visual effects,” Mitchell says. “We created something unique to each based on the story Infinity Ward wanted to tell. Through the overall process, we made sure there was a cohesive look and feel.”

“This project owes so much to Infinity Ward’s vision and desire to raise the level of creative aesthetic,” Stephen Venning, Executive Director, Mill+ says. “The team wanted contemporary, unique graphics that would reflect the sophisticated storytelling. Working with his lead designers Ed Laag and Eugene Gauran, Mill+’s Mitchell built style frames and narratives that are comparable to anything you would see in a movie.”

Call of Duty: Ghosts is available now on Xbox 360, PlayStation 3, Wii U and Windows PC, and will also be available on PlayStation 4 and Xbox One later this month.

Beeple: Transparent machines

This is the new work of the talented CG artist Mike Winkelmann also known as Beeple.

“Our society is obsessed with the conflicting concepts of transparency and privacy. We are “outraged” by the actions of the NSA, yet continue to willfully upload more and more of our personal information to Facebook and Google. This film explores the contradictory nature of our actions and beliefs regarding transparency.”

CREDITS:

Directed by: Beeple (Mike Winkelmann)
Sound design: standingwave
Music: heqc – pulverized
Voice over: Rachel Salaman

You can download the entire cinema4d project file HERE

Woodwork Amsterdam: Reel 2013

2013 Reel for Amsterdam based Woodwork, a creative film, animation and design studio carved out of the idea that digital and analog can work together harmoniously. Founded with a passion for motion graphics and live action, Woodwork maintains a design-led, hands on approach to everything they do.