Hasta La Motion!

A2 from :
Lee Gamble — Chain Kinematics EP (UIQ Inversions 001)
http://u-i-q.org

HD: https://vimeo.com/155243094

Video: Dave Gaskarth
http://www.cyrk.org

ZULI – Bionic Ahmed (UIQ0002)

12″ + Automatic DL available here – u-i-q.org

Video Loop: Dave Gaskarth

“What the f**k just happened!” Most probably, this is what your reaction will be while watching the new Sausage Party trailer. Don’t mind the use of the ‘F’ word but the frequent repetition of the abusive word in the trailer leaves the word ringing in your head unknowingly. It’s an R-rated movie therefore the leverage is understood and well, the humour kind of grips you.

Nobody would ever wonder what story is hidden in a supermarket unless the food items lying there had a story to tell. Be it sausages, buns, vegetables or cream, everything would go for a toss if ‘life was induced in the non living eateries’ and they suddenly become vocal about it. And, the most affected creatures would be humans for they may just shift from being the active players of the game called ‘life’ to become the villains of the same game; an enemy to be controlled and scraped away completely.

You might still wonder “What the f**k is all of this about?”. Sony Pictures Entertainment’s upcoming animated feature Sausage Party has tapped the chord which is quite unique in terms of a plot for a movie. The trailer is outrageous, atrocious and way loud with the potato and pizza shouting their heart out due to the violence caused to them at the hands of humans.

Tiny sausages, biscuits, sandwich and the last struggling piece of pizza have been created with a lot of variations like gloves, shoes with attractive eyes, hands and legs. Not to forget the background score Jason Derulo’s Wiggle Wiggle adds a striking effect to the whole trailer.

Directed by Greg Tiernan and Conrad Vernon, written by Evan Goldberg, Kyle Hunter, Seth Rogen and Ariel Shaffir and produced by Megan Ellison and Vernon, the film is co-financed by Annapurna Pictures along with Point Grey Pictures. The sausages are set for a f**kin party (or war) in theatres on 12 August, 2016.

The post Sausages are set for an outrageous party with new trailer appeared first on AnimationXpress.

Ghosts in the house can be horrifying or deliberately funny. The recent Ghostbusters movie which released on 15 July had both these elements. And these elements were amplified as The Iloura team completed 500 shots for the film creating the CGI ghosts.

Led by Iloura VFX supervisors Glenn Melenhorst and Andrew Hellen and Iloura VFX producers Ineke Majoor and Jeannette Manifold, the feature was coloured by Jill Bodganowicz at Deluxe’s Culver City, CA facility. Iloura’s slate of work focused on look development for and creation of ghostly characters.

Sony Studios’ VFX supervisor for the film, Pete Travers said, “Iloura played such a strong role in the design of our ghosts. From the first test in pre-production which they hit out of the park, everything Iloura produced was not only of extremely high quality, but had such a strong aspect of creative design, in ways that we hadn’t asked or expressed. They went the extra mile, and it always paid off from our vantage point. Glenn and his team made it easy on us, defining the look of our ghostly beings like Gertrude, the Rock Concert Ghost and the Mirror Ghouls.”

In a pre-production test, potential VFX vendors were required to produce an animated ghost based on what they thought the characters should look like. Melenhorst said, “The brief allowed us quite a bit of flexibility, and we developed some designs that evoked a creepy, ethereal look and feel, but still had enough charm and personality to work for the comedic aspects of the film.”

For Gertrude, a live-action/CG hybrid (sometimes full CG) who ‘lives’ in the library, artists built a skeletal system, designed and added her clothes and lower body, and finished with a celestial aura. Production employed a technique of strapping the actors in LED lighting which threw a soft light both onto the actors as well as the set, which required artists to integrate her seamlessly into the plate. They also transformed her from ethereal beauty to skeletal ectoplasm-spewing-monster.

Another Iloura creation was the band of Mirror Ghouls.

The filmmakers envisioned them as decomposed creatures recessed in a dark world who take on a suggestive form from afar, but become more legible as they approach the mirror surface and try to escape. To achieve this, Iloura’s artists developed a number of looks for the translucent creatures from the recessed world, as well as more creepy, human-like forms that appear close to the surface. Cooler shading and lighting tones were utilised behind the glass, which shifted to warmer tones as the ghouls approach the surface; a technique that helped inform the audience of their other-worldly environment and their relationship to ours. As the ghouls eventually smash through the mirrors and take on vaporous ethereal forms, CG warping and reflective bows were added to the mirror surfaces, as well as practical and CG smashed glass to support the physicality of the event. This kind of seamless transition was key to audience acceptance in this film as ghosts and ghouls frequently metamorphose from one form to another.

Mayhem, a large and ominous all-CG ghost who inhabits a concert stadium and appears as part of a heavy metal stage show, was another Illoura creation. He needed to retain a ghostly, translucent look, but with subtle real-world detail such as skin texture and hair which needed to float and move as he flew through the air. An internal glow dubbed a “jelly pass” was added to give him an inner ghostly glow on top of his skeleton and muscle system. In some of the more complex shots, the dry-ice aura and vapour effects needed to interact with the concert crowd and the main actors to bring more believability to the scene. Further work to this sequence included CG beams, sparks and lightning from the actors guns, crowd enhancements and associated integration between the live-action plates and the CG work. Other characters completed by Iloura include ghost rats and the Show Ghost featured in a sequence with Bill Murray’s character.

Sony Studios’ VFX producer, Sean Santiago said, “I knew that when Iloura said they could do something they would, and they would exceed expectations, and despite the many curveballs thrown their way, Iloura continued to deliver quality work.”

The post Deluxe’s Iloura puts the ‘Ghosts’ in Ghostbusters appeared first on AnimationXpress.

Air New Zealand’s latest in-flight safety video, Safety in Hollywood, stars Anna Faris (Christy Plunkett in Mom) and Rhys Darby (Murray Hewitt in Flight of the Conchords). The five-minute Air New Zealand Safety in Hollywood film is set in multiple iconic Hollywood film locations at Warner Brothers Studios, including those used in Jurassic Park, Casablanca, War of the Worlds and True Blood. Rhys presents Anna with a script featuring Anna, himself, two Air New Zealand flight attendants, and over 20 extras, including Chester the Chihuahua, who has appeared in Transformers and Grey’s Anatomy. They move from Police Academy, romance in Paris, horror in the woods, and a Western-style show down.

The Air New Zealand Safety in Hollywood video continues Air New Zealand’s tradition of presenting safety videos in a fun and clever way. Previous safety videos featured cameos from Men In Black, The Hobbit films, Betty White, Bear Grylls and Richard Simmons and

Air New Zealand Safety in Hollywood Credits

The Air New Zealand Safety in Hollywood safety video was developed at True by executive creative director Craig Pethybridge, creative directors Dom Antelme and Ian Sweeney, copywriter Scott Moyes, agency producer Fiona Champtaloup, senior account manager Jess Standidge, working with Air New Zealand head of global brand development Jodi Williams, global brand engagement manager Susan Davidson, brand communications specialist Sarah Sangster.

Filming was shot by director Steve Saussey via Jungle with director of photography Danny Ruhlmann, executive producers Yolanda Dewey and Nick Simkins, production designer Rene Vas, 2nd unit director Chris Clark, LA line producer Luann Barry, wardrobe stylist Nicola Clegg.

Air New Zealand cabin operations were managed by Faatepa Misiluki and Shane Constable.

Post production was done at Blockhead by motion graphics designers Joerg Fuchs and Kyle Stoffberg. Editing was by Stuart Morley and Philippe Lods.

Photography by Fraser Clements was retouched by Dennis Monk.

Sound and music were produced at Liquid Studios by sound designers Craig Matuschka and Brendon Morrow, composer Pete Van de Fluit, and producer Tamara O’Neill.