As we acted as a full service provider for Nikes Air Max 1 Ultra Flyknit we also got to do the whole visual development of the spot. Here’s a process in a snappy reel. This is the central animation piece that came out of it: https://vimeo.com/174641239 And here’s the project on our page: http://www.aixsponza.com/projects/nike-airmax1
When Nikes Air Max 1 Ultra Flyknit is hitting the stores “launch” will have a whole new meaning. High up in the sky we don’t loose grip or traction and celebrate the latest killer shoe of Nike in all it’s lightweight glory. Spawning from the visual style of the central animation a whole lot of things were created to form a complete retail package. From the shops window front over engage zones, footwear walls and pedestals all the way to turning our 3d assets into real actual objects to put up in stores – do not worry, the whole range is covered. Here’s the project on our webpage: http://www.aixsponza.com/projects/nike-airmax1 And the process reel: https://vimeo.com/176474039 — Client: Nike Sportswear | Global Brand Design Producer: Kate Terrill, Jess Puttermann Brand Design Director: Nico Sala, Kevin Coatman for Aixsponza Producer: Julian Fischer Creative Director: Manuel Casasola Merkle, Christian Tyroller Art Director: Moritz Schwind Artists: Leo Akinbiyi, Joey Camacho, Jens Kindler, Matthias Lein, Fabian Rosenkranz, Moritz Schwind, Jan Sladecko, Benno Verschüren, Ben Watts, Matthias Zabiegly, Santi Zoraidez, Ondrej Zunka Product Sculpting: Lars Korb Chief Knitting Advisor: Roxana Schwind Music: Michael Fakesch, Designingsounds
A short making of film showcasing our process on the VERSUS project. See full project here: http://mvsm.com/project/versus
Music: Solaris theme, by Edward Artemiev. BWV 639 Choral Prelude in F Minor, by J. S. Bach. Films: Ivan’s Childhood (1962) Andrei Rublev (1966) Solaris (1972) Mirror (1975) Stalker (1979) Nostalghia (1983) The Sacrifice (1986) Disclaimer: I do not own anything in this video. No copyright infringement intended. Everything belongs to their respective owners. I am not making any money off of this video.
1955 ident for the American Broadcasting Company. Features a voice-over promoting “Wednesday Night Fights”.
Casual snapshots I recently took using the 60s camera Ilford Sprite 127 and Rera Pan 100 film. Mostly taken in Olinda, Victoria, Australia. The music is much older….it’s “Sweet Indiana Home” by California Ramblers, which I stole from the Little Wonder records page:
http://www.littlewonderrecords.com/little-wonder-history.html
Considering the location is Australian, the film is Japanese, and the camera is British, the use of the song is a little odd!
On 27 July, 2016, senior executives from the India’s motion picture and digital industries concluded that accessibility; affordability, quality content and online content protection will be the key drivers to sustain growth in India’s digital economy.
‘Fast Track India: Bolstering Growth in the Digital Content Economy’, a Knowledge Series forum by the Federation of Indian Chambers of Commerce (FICCI) in association with the Los Angeles India Film Council (LAIFC), assessed the extent to which screen content acts as a key driver of the digital economy in India. Creative industry executives assessed the current regulatory and infrastructural challenges, reviewed future growth trends and underlined innovative ways of monetizing digital content to stimulate growth in India’s digital economy.
At the opening of the forum, FICCI, Entertainment division, Co-chair, Ramesh Sippy highlighted that increased connectivity, technological innovation and new content delivery platforms all combine to spur growth. The role of the Government, he said, is pivotal to enabling legitimate content delivery platforms to protect and monetize their content in order to achieve their full potential in a rapidly changing marketplace.
India is the second largest Internet user market in the world with an accelerating 40% Internet growth rate. Further; Digital India has the potential to create opportunities for businesses, promote innovation and create jobs. Currently, the Indian M&E sector is at the tipping point for online businesses to provide for a multitude of options to consumers. However online content theft, varying levels of broadband access and affordability in terms of data tariffs continue to present challenges for providers to deliver value to consumers. These factors will have a significant impact on how digital media evolves in the future.
The first panel ‘Making Sense of the Economics of Digital Media’ featured a keynote presentation by KPMG. KPMG India, Director- Transaction Services, Girish Menon said, “The advent of the OTT services and on-the-go content aided with competitive tariffs and falling average retail price of smartphones has helped to drive video consumption in India. However, profitability still continues to be a major challenge coupled with infrastructure and affordability of data tariffs and payments models. It is imperative for the OTT players to address these concerns through innovative means to achieve the medium’s full potential.”
Speaking about the future of OTT content services, Arre, Co-Founder & CEO, Ajay Chako said, “As in the case of broadcast TV in India, the relatively infant digital content economy is showing signs of secular, organic growth driven by an increasingly young India. We already have more than 120 million consumers of digital content. As with every paradigm shift, audience shifts will be followed by a shift in advertiser preferences and finally consumer monetization. So I am quite hopeful that the digital content economy will see the exponential growth that has been witnessed in the 2000-2010 decade in TV, in the next 3-5 years. I am happy that FICCI and the LA India Film Council have identified this important shift in paradigm in the new content economy.”
At the second panel on ‘Regulatory and Infrastructural Challenges for Digital Media’, Set India, Head – Marketing & Analytics, Digital Business, Abhishek Joshi said “The OTT industry has graduated from the innovators stage to the early adopters stage within the innovation diffusion curve, based on distinguished product strategies by players in the market. However to cross the chasm to gain the majority market, policy makers will have to play a very big role. Infrastructure and regulatory policies are going to be the biggest differentiators for industry growth for the next 18 months.”
dittoTV, Business Head, Archana Anand said, “In light of the accelerated digital media consumption across the country, it is wonderful that FICCI and the LA India Film Council provides this much needed platform to discuss the market potential of this space and the innovations and challenges thereof.”
At the third panel on ‘Building a Robust Enforcement Model to Protect Content in a Digital Economy’, Motion Picture Association (MPA), Regional Director, Online Content Protection, Oliver Walsh said, “The Indian film and TV industry supports 1.8 million jobs which are at risk because of rising online content theft. The future of legitimate content delivery platforms depends on effective enforcement measures supported by Indian State Governments. The Telangana Intellectual Property Crime Unit (TIPCU) is a great example of a dedicated law enforcement unit to tackle organized online film piracy and will set a gold standard approach to significantly reduce online infringement of films and television shows. I hope it is the first of many such enforcement units across India.”
Governing Council, Anti Video Piracy Cell, Telugu Film Chamber of Commerce, Honorary Chairman, Rajkumar Akella said, “As we have been witnessing in recent days, the problem of online piracy is most urgent. The greatest threat now has become the pre – movie release leakages. Without real time interventions from the Government and Industry, it will go out of control. In this scenario, the latest initiative – TIPCU (Telangana Intellectual Property Crime Unit) by the Government of Telangana, the Telugu Film Industry & the Motion Picture Association, India office, is a very significant step in tackling Movie Piracy, particularly Online Piracy. It is a collaborative, dynamic model,where the Government works seamlessly with the Industry and all stakeholders. The unit will be making optimum use of Technology besides policy, enforcement and outreach. This is a step in the right direction to root out piracy in India.”
Sharing his thoughts on the future of India’s burgeoning digital market, Biren Ghose, in his valedictory remarks, said, “Content is assuming new life in the emerging digital economy. Technology enables innovations in imagery that could hitherto neither be produced nor consumed. FICCI and LA India Film Council need to be complimented on encouraging the conversation for the Indian agenda in this space.” Panelists concluded that a combination of government and private initiatives would need to be rolled out to achieve the ambitious goal of a truly Digital India.
Other eminent speakers at the Fast Track India forum included Vishesh Bhatt – Film Producer, Karan Bedi – CEO, Eros Digital, Samir Bangara – CEO, Qyuki Digital Media, Mayank Shekhar – Author, Akash Banerji – Head, Marketing & Partnerships, VOOT, Siddharth Roy – COO, Hungama.com , Rajeshree Naik – Co-Founder ,Ping Networks , Uday Singh – Managing Director, Motion Picture Association, India office, Sujeet Jain – General Counsel, Viacom 18 , Anupam Sharma – Director, Film & Casting Temple, Australia.
The forum provided in-depth analysis about the rapidly growing digital industry, its strengths and weaknesses while focused on one thing in particular that as it is a fairly new industry, everyone is on the learning curve and a robust growth in this sector is inevitable in the coming time.
The post Digital content specialists outline the future of India’s digital economy at FICCI Knowledge series 2016′ appeared first on AnimationXpress.
BRB International and ohm:tv have concluded an agent’s agreement for the new season of Lilly the Witch, based on the renowned bestselling children’s book series lead by this cheeky little sorceress. BRB will manage the rights of the series in selected European countries, Spain and Portugal amongst them, as well as in Canada, Latin America, Australia and Asia.
The new season of Lilly the Witch (26 x 22’) will offer more thrilling adventures regarding this famous little girl who can travel through time and space. With brand new designs for characters and settings, audiences will get a glimpse of the updated and modernised image of Lilly and her friend Hector, a chubby little dragon and the caretaker of a magic book. Viewers will be virtually transported from Egypt to China, Japan and Peru… or even to some exciting and amazing events such as the Olympic Games, as well as meeting memorable characters along the way such as Aladdin.
Targeted at six to nine year olds, the series is produced by German animation producer TRIXTER in cooperation with broadcasters WDR and ORF and production companies DOR FILM in Austria and AT-Anim in Belgium.
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Shotgun Software today announced the winners of the third annual Pipeline Awards at SIGGRAPH in Anaheim. The Pipeline Awards recognise tools and individuals who exhibit excellence in pipeline tool development and are pushing the industry forward by making tedious processes better and faster for studios of all sizes.
Mammal Studios, Pipeline technical director, Janice Collier was honoured with this year’s Hero Award for her outstanding contribution not only to Mammal where she has helped create a pipeline for the 15-person company on par with international facilities 10 times their size, but also for her contribution to the ongoing development of Shotgun’s Toolkit by providing valuable feedback over the years.
Shotty Awards were also given to the top pipeline tools of the year, and were awarded to: Allan Johns for the development of Rez, an open source environment and package management solution, Blur Studio for Blur Dev Tools, open source software providing tools for pipeline development, including Python integration for Autodesk 3ds Max which is used by studios around the world, Burrows Dropper Ganger Tool developed by Burrows CGI Studio which enables artists to drag assets from within Shotgun in the browser and open them within other applications including Autodesk Maya, 3ds Max and Rhino, and to Brown Bag Films for their Shotgun Task Triggering Workflow, which helps the studio track the steps required to move tasks along in their asset build pipeline, from artist to artist or project to project.
Brown Bag Films is known for its rich heritage in 3D animation and content, which includes producing four of the top ten pre-school TV shows in the US and entertaining 100 million kids across the globe. A subsidiary of Toronto based 9 Story Media Group, Brown Bag Films employ almost 200 creative and production staff in its headquarters in Dublin, a studio in Manchester and an office in Los Angeles, and is known for producing hit animated children’s series including Octonauts, Doc McStuffins, Bing and Henry Hugglemonster.
Brown Bag Films, VP of Technology and Innovation, Louise Nicholls said, “This is a great achievement for the entire Technology team at Brown Bag Films. We strive to merge the best in creative with the best in technology, and have created some of the most adaptive and innovative animation pipelines in the world. As part of our integration efforts with 9 Story Media Group, we are currently in the process of rolling out these best in class tools across our 2D studios in Manchester and Toronto as well.”
“Brown Bag Films identified a need to invest in our pipeline and software development team to enhance the studios’ capabilities to deliver high quality 3D and 2D productions in a competitive industry,” said Brown Bag Films, head of Pipeline R&D, Darren Hyland. “Due to the nature of Pipeline Engineering, a lot of the work done by the team occurs in the background of a production.”
Brown Bag Films Pipeline Team
Autodesk senior director and Shotgun co-founder, Don Parker said, “We’re in year three of the Pipeline Awards and we continue to be blown away by the ingenuity of the pipeline community. At events like SIGGRAPH, we often focus on the visual effects and animation seen on screen, so we love having the opportunity to shine a light on the technologists and tool builders behind the scenes, laying the foundation that allows creative teams to work collaboratively to make these incredible visuals.”
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Small World, Google Translate’s free pop up restaurant in New York, features in #EveryoneSpeaksFood, a short film highlighting tasty dishes inspired by dozens of global cultures, artfully prepared by a cadre of 18 acclaimed chefs. The film piques interest in a pop up café featuring menus in multiple languages (necessitating diner’s use of Google Translate), and meals incorporating dishes from cuisines as far flung as Israel, Korea, Italy, Sweden and Ireland. Everyone speaks food.
m ss ng p eces conceived the pop up restaurant idea with Google, designed all branding components, and produced every aspect of the experience, telling the vibrant story of the experiential event in the #EveryoneSpeaksFood film. The project was helmed by PARTY Executive Creative Director Masa Kawamura, who had recently joined the m ss ng p eces roster.
Executive Producer Kate Oppenheim explained the impetus for the campaign, “Everyone Speaks Food is an idea that celebrates the connections that we build over a meal and the richness of food cultures around in the world. We were inspired by the way that Google Translate creates functional and personal connects between people everywhere.”
When Google approached the production company, the brief was starkly simple: create an experience that celebrates Google Translate’s ability to bridge cultural divides. Cam Luby, head of the cultural activations for Google’s brand marketing explains, “There is something very unique in how Google Translate can break down cultural barriers. Behind best-in-class AI is a very simple product that addresses one of the biggest obstacles to universal understanding: language. We wanted to demonstrate this to people in a simple and relatable way. The culinary metaphor was the perfect stage to demonstrate the role of our technology”.
The resulting #EveryoneSpeaksFood campaign was a multi-faceted event experience which goes far beyond the tasks normally performed by a production company. Creativity was deployed on all elements of guest interactivity and engagement, and event details no matter how small, including the menu, decor, posters, the website and a globally inspired playlist. There was even a very special (and very popular) Small World donut cart, which distributed over 30,000 donuts to passing New Yorkers and prompted millions of organic social media impressions through Instagram, and custom Snapchat geo-filters.
The Everyone Speaks Food project was developed at m ss ng p eces, by executive creative director Masahi Kamakura, creative director Jamie Carreiro, executive producers Kate Oppenheim, Ari Kuschnir and Brian Latt, director Josh Nussbaum, head of production Dave Saltzman, project management director Brian Mitchell, art director David Trumpf, art producer Kari Anderson, project manager supervisor Sara’o Berry, project management supervisor Kathryn Berk, project management coordinators Jonathan Figueroa and Zachary Kislevitz, copywriters Gideon Jacobs and Cassie Marketos, designers Jordan Bruner, Costa Damaskos and Stephane Rodriguez, campaign video line producer Mike Prall and campaign video production manager Jason Reif.
Google’s team were head of Google brand breative Michael Tabtabai, head of cultural activations Cameron Luby, Google brand marketing manager Ben Quesnel, Google Translate marketing manager Jesse Friedman, head of brand and reputation, events and experiences Michelle Rosen Sapir, brand marketing manager Kyle Gray, social lab marketing manager Jane Hall, events marketing managers Katrina Lau, Melissa Luu, and Lorin Pollack, brand marketing manager Tracy Hepler, communications managers Evan Barbour and Kara Berman.
Design and branding work at The MP Shift was by co-founders Amy Morris and Anna Polonsky.
This is site is run by Sascha Endlicher, M.A. during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
