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“Only Slightly Exaggerated” campaign for Travel Oregon. Directed by Kylie Matulick & Todd Mueller. Written and produced by Wieden + Kennedy Animation by Psyop & Sun Creatures Studio Music by Oregon Symphony See more: https://traveloregon.com/only-slightly-exaggerated/ / SUN CREATURE Executive Producers: Guillaume Dousse, Charlotte de la Gournerie Producer: Guillaume Dousse Associate Producer: Simon Lee Bresling Line Producer: Charlotte Sanchez Production Manager: Fie Ørnsø Art Directors: Simon Lee Bresling, Guillaume Dousse Animation Supervisors: Liane-Cho Han, Kenneth Ladekjær Background Supervisor: Patrice Suau Storyboard Artist: Liane-Cho Han Colorscript Artist: Daniel Cacouault Concept Artists: Patrice Suau, Daniel Cacouault, Thomas Reteuna, Ben Marsaud, Mourad Elias Seddiki, Simon Masse, Leïla Courtillon, Linnea Sterte, Luca Vitale, Lucas Durkheim, Samuel Klughertz Character Designers: Kenneth Ladekjær, Luca Vitale Layout Background Artists: Simon Masse, Jean-Michel Boesch, Linnea Sterte, Thomas Reteuna, Jade Khoo Layout Posing Artists: Kenneth Ladekjær, Pierre Rütz, Mourad Elias Seddiki Layout Compositing Artists: Birk Von Brockdorff, Anthony Lejeune Background Painters: Patrice Suau, Simon Masse, Thomas Reteuna, Matthew Vince, Grace Liu, Sylvain Fabre, Théo Boubounelle, Alexis Liddell Character Animators: Pierre Rütz, Christoffer Elsborg Kramme, Mourad Elias Seddiki, Thibaud Petitpas, Kenneth Ladekjær, Cyrille Chauvin FX Animators: Thibaud Petitpas, Olivier Malric, Rachid Guendouze, Ines Scheiber, Stéphane Chung, Kenneth Ladekjær, Touraj Khosravi Clean-up Artists: Christoffer Elsborg Kramme, Kay Sales, Laura Büchert Schjødt, Nawell Sdiri, Marick Queven, Sandrine Han Jin Kuang, Mette Ilene Holmriis Color Detail Animators: Christoffer Elsborg Kramme, Kay Sales, Laura Büchert Schjødt, Nawell Sdiri, Sandrine Han Jin Kuang, Mette Ilene Holmriis, Pierre Rütz, Mikkel Mainz Elkjær Animation Color Artists: Christoffer Elsborg Kramme, Kay Sales, Laura Büchert Schjødt, Nicoline de Selsted Lind, Mette Ilene Holmriis, Mikkel Mainz Elkjær Senior Compositing Artists: Birk Von Brockdorff, Paul Ó Muiris / PSYOP Directors: Kylie Matulick, Todd Mueller Managing Director: Neysa Horsburgh Executive Producer: Lucy Clark Head of Production: Drew Bourneuf Producer: Nick Read Associate Producer: Lara Arikan Designers: Joe Ball, Devon Manney, Andrew Park, Robin Thompson 2D Supervisor: Ryan Raith Storyboard Artist: Max Forward Compositors: Ryan Raith, Joe Ball, Sarah Blank, Tommy Wooh Flame Artist: Kim Stevenson Editors: Brett Nicoletti, Lance Pereira Assistant Editor: Rob Cavedo
Fast by Nature. We worked closely with Nike Football to design and direct the launch campaign for the all new Mercurial with revolutionary Flyknit-360 technology. The project called upon a range of our creative capabilities; from shooting global superstars, to experimental 3D animation and robust typographic systems. As directors we had the privilege of working with the beautiful game’s biggest names; Cristiano Ronaldo, Neymar Jr, Kylian Mbappe, Marco Asensio, Lieke Martens, and wonder-kid Karamoko Dembele. See full project here: mvsm.com/project/born-mercurial CREDITS — Client: Nike / Nike Brand Design Agency: ManvsMachine Director: ManvsMachine Design & VFX: ManvsMachine DOP: Rina Yang Editor: James Food @ Rock Paper Scissor Colorist: Joseph Bicknell @ Cheat Music: Dave “100ms” Songwriters: David Orobosa Omoregie / Sam Lewis Track: 100M’s lyrics @ Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc. Sound Design: Echolab Additional footage supplied by Nike, Inc.
Milan-based Alkanoids delivers a colorful, ’80s-infused burst of energy to open the 2018 edition of PromaxBDA Europe at the Rome Cavalieri.
VR&AR Fair, the one and only professional VR and AR trade show in China, held four times a year respectively in Guangzhou (Main), Beijing, Wuhan, and Zhongshan, has attracted the attention of global leading VR and AR brands.
First held in 2017, VR and AR is a professional and efficient business platform to bridge worldwide buyers and suppliers, as well as to enhance communication between manufacturers and ordinary consumers.
On a show floor of 20,000 square meters, over 100 acclaimed exhibitors at home and abroad such as VRway, Hirain, Leke VR, Shenlinqijing, Foldspace, NineD, TPcast, Huan Tek, Xiechuang, EFERCRO, Movie Power etc, showcased their latest offerings to visitors of over 30 countries and regions. While VR and AR entertainment equipment dominated the show, VR and AR based education were the second best represented sector.
The 2018 edition, held at the China Import and Export Fair complex (Area A) is estimated to host over 200 exhibitors and 30,000 person-time visitors on a show floor of 30,000 square meters. Four special exhibition areas will be marked out respectively for VR and AR based education, VR and AR based home decoration, VR and AR smart wearable devices, and VR and AR entertainment equipment in order to achieve a more systematic and comprehensive display of VR and AR products.
The concurrent events during 3 to 5 April are 2018 Asia Amusement and Attraction Expo (AAA 2018), the ninth Asia Theater and Filming Equipment Fair 2018 (Asia Theater and Film 2018). The exhibition will cover an area of 0.1 million square meters with visitors of 1,20,000 which is beneficial for VR and AR to be combined with IT, entertainment, education, internet, finance, film and television, real estate and other related fields.
The post China’s VR and AR Fair 2018 to be held in April appeared first on AnimationXpress.
David Yates’ 2016 blockbuster Fantastic Beasts and Where to Find Them opened up a new chapter from J.K Rowling’s epic world of wizardry after the culmination of the Harry Potter franchise in 2011. But soon, the lanky Newt Scamander is set to return with a new set of magical creatures as Warner Bros. today released a trailer of its second part, The Crimes of Grindelwald.
The next Fantastic Beasts roll-out probes the events in the aftermath of Gellert Grindelwald’s unveiling and his subsequent apprehension. However, the dark wizard escapes and summons an army of Majs to rule over the No-Majs. A younger Albus Dumbledore, played by Jude Law, hires Scamander to help in his cause of thwarting Grindelwald’s sinister schemes.
The clip also features some of the prominent characters from the earlier movie including Jacob Kowalski, Tina Goldstein and Credence Barebone, as another magical adventure awaits.
Visuals, as we’ve grown to witnessing from movies popped from Rowling’s pages, are stunning as ever and the likes of Double Negative, Framestore, Image Engine are some of the studios behind the same.
Produced by Warner Bros. Pictures, Fantastic Beasts: The Crimes of Grindelwald sees David Yates return to the director’s hotseat, and casts its spell from 16 November 2018 onwards.
The post Warner Bros release the first official teaser of ‘Fantastic Beasts: The Crimes of Grindelwald’ appeared first on AnimationXpress.
Gambling plagued the working-class Tasmania. This fuelled the creation of Jumbla’s most recent animated TVC for Bad Bets Australia. Working alongside MONA and project representative Alex Wadelton, Jumbla designed a living, breathing Pokies Parasite that haunted Tasmanian neighbourhoods at night.
The ad takes on a classic thriller look and storyline, building up suspense and slowly revealing the hybrid creature. For the different style, Jumbla’s creative director Oz Smith cited b movies, retro thrillers, 80s horror films, and even Hollywood blockbusters among his influences.
“The team created a story where light represented money – the parasite’s prey,” Jumbla producer Natalie Studdert said. “The pokies parasite quite literally sucks the light out of the low socio-economic areas of Tasmania,” she added.
Two creatives were tasked with developing the scenery, texturing, and lighting, while another creating the poker machine parasite. For added authenticity, nearly every aspect of the location, from the homes to the bus stops, was based on suburban Tasmania.
“Along with references supplied by the client, we also looked on Google Maps to get a feel for the area and ended up modelling most of it ourselves,” Oz said. Additional elements of the animation such as the texturing and lighting not only facilitated a more sinister mood, but also helped with the tight deadline.
“We were able to mask sections of the scenes and pull focus to the elements that needed more detail. The team at MONA were incredible to work with, giving us a lot of creative freedom, which meant we could focus more on the design and less on countless rounds of feedback,”Oz added.
Oz further quoted, “The scene where the bug sucks the life/light out of the Pristine Tassie poster was a key visual to explicitly sum up the message of the campaign.”
The commercial aired across the Tasman ahead of the 2018 elections and utilised light and dark to represent predator and prey as narrative devices.
The post Bad Bets Australia comes up with a TVC for gamble plagued Tasmania appeared first on AnimationXpress.
Almost all 90s kids have grown up watching Tom and Jerry and Road Runner. The reason that these shows have been watched most widely around the world is their universal appeal. Two contrasting characters with equally interesting personalities always make up for a hit show. Taking this trend forward is HopMotion Animation’s first original IP Kuku Mey Mey.
Kuku Mey Mey is a 2D animation show, about a lion (Kuku) who seems to have lost his inner wild and a goat (Mey Mey) who seems to have found her inner watch dog. “When these two clash they give wildlife a whole new spin,” says HopMotion founder and CEO Anish Patel.
The synopsis goes like this: On the edge of the wildlife sanctuary that is Kuku’s home, is a famous Jungle Inn. This is Kuku’s hunting ground and the comforts of the Jungle Inn are big game. All Kuku wants to do is sneak into the inn and steal the modern day comforts it has to offer. Meanwhile, the territorial Mey Mey will go to any lengths to stop Kuku from trespassing. Her notorious booby traps are set at every corner to do the trick and embarrass the beast out of Kuku. The result is a chaos laden chase comedy that turns the tables on predator and prey.
“We wanted to create something that would be universal which would enable us to reach the widest audience possible around the globe,” explains Patel. “We’ve all grown up with animal tales and tales of the jungle. The idea of a role reversal between predator and prey stuck with us. A lion in a wildlife sanctuary that has lost his inner wild competing with a feisty goat, an animal normally at the bottom of the food chain sounded hilarious and we knew would make a fun slapstick chase comedy show.”
The show is done entirely following a digital 2D pipeline on Toon Boom Harmony and the classic 2D style “has helped us strengthen the story premise and humour of the show,” shares he.
The first season of the show has 78 episodes of seven minutes each and is available on North America’s OTT platform Toon Goggles and VOD platform Amazon Prime US, under the title Kuku and the Goat.
“The high-quality of animation and great storytelling of Kuku and the Goat caught our eye and we knew right away that the show would be a great addition to the Toon Goggles family,” reveals Toon Goggles CCO Lee Adams. The platform has series from all over the globe – India, UK, France, South America, Korea, China, Turkey and many more countries – with something appealing for everyone.
“They (team HopMotion) have been stellar to work with,” Adams explains, “taking their initial animation and confirming it to our Toon Goggles format. Our viewers have embraced their series and we can’t wait to receive more episodes!”
“We carefully select our content and make sure it compliments each other to give the content holders the maximum exposure and revenue,” he further explains. “We hope to welcome many projects like Kuku and the Goat to Toon Goggles in the future.”
Kuku Mey Mey was recently nominated at the FICCI BAF Awards 2018 under the best animated episode (Indian) category. “It was very encouraging for us,” says a buoyant Patel. “It was a big pat on the back for the entire team at HopMotion and it only reinforced our belief that we are on the right track. With that we are super excited to share the first look of our show in India.”
Kuku Mey Mey is directed by Anish Patel, written by Carmen Zainabadi with music by Gigi Meroni. Audiences in India will have to wait a bit longer to watch the show, as the team is “still in talks to find the right digital and television partners for the show,” reveals Patel.
The post HopMotion Animation reveals first look of their debut original IP ‘Kuku Mey Mey’ appeared first on AnimationXpress.
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