Hasta La Motion!

If you’re in need a good chuckle, take five minutes to watch the lovingly crafted “JohnnyExpress,” the latest short from Korea-based Alfred Imageworks.

Not sold on the idea of going back to school? Neither was Daniel Savage.

The NYC-based designer/director just released his animated short, “Helium Harvey,” a labor of love that doubled as self-directed education:

After much debate on whether to go to graduate school or not, I decided I would take part of 2013 off to explore storytelling and character driven narrative on my own. I turned down most commercial jobs (except the really exciting ones), read as many books as I could, explored things outside of my comfort zone, and made “Helium Harvey.”

It was completely self funded, teaching a few classes at NYU and online, as well as select freelance projects to help pay for it.

Q&A with Daniel Savage

Let’s rewind to before you decided to make Helium Harvey. You were considering going to grad school, right? Why?

I come from a graphic design background, so jumping into character driven narrative isn’t an easy task. It’s a different way of thinking. But I love the idea of cartoons and technology meeting, so that’s where my interest is.

Originally, I wanted to make a story app, but I felt I had a lot to learn in animation first.

How did you come to the idea of making a short film?
I guess it’s what everyone comes out of school with, so it made the most sense. Plus I had the idea of Harvey for a while, so I wanted to make that.

Do you feel that making Helium Harvey was a good substitute for going back to school? Or was it a different kind of learning?
It’s tough to say. I’m sure I would have a better film if I was surrounded by other people in the same situation, but I like to learn the hard way. When someone tells me something it goes in one ear and out the other. I think it depends on the person.

Looking back, are you happy you decided not to go to school? Are you considering still going in the future?
I am happy, it was a great year. I don’t think I will go back, I will always take a class here or there though.

How hard was it to fund everything yourself?
Not very hard, it was really about time more than money. My rent is super cheap, I was on my lovely girlfriend’s health insurance, and having a skill I’ve developed (After Effects animation) that I could help other people learn was my biggest asset. People got something valuable out of it, and I got enough money to make a film. I still took on a few fun jobs, which also helped pay for it.

For those that are thinking of doing the same thing, can you give them advice/warnings?
I would take it slow, do a month here and there (being freelance helps) to practice new skills before jumping into a project as overwhelming as a film.

Making of “Helium Harvey”

The making of montage is bursting with goodies, from concept art to time-lapsed After Effects sessions.

Orchestra Recording Session

There’s something magical about watching an orchestra perform a soundtrack live.

Credits

Written, Directed & Animated: Daniel Savage
Title Designer: Dave Foster
Additional 2D FX: Jay Quercia
Digital Ink & Paint: Christina Lu
Audio Post services by Impossible Acoustic
Sound Designer and Re-recording Mixer: Brendan J. Hogan
Foley Artist: Jamie Hunsdale
Mixed at Clatter&Din studios
Music: Cyrille Marchesseau
Performed by: Macedonia Radio Symphonic Orchestra
Conducted by: Oleg Kontradenko
Music Mixer: Rodolphe Gervais
Music Thanks: Aude Nassieu Maupas, Boban Apostolov, Georgii Hristovski
Special Thanks: Tricia Desjardins, Mom and the former Savages, Cody Murray, Alex Mapar, Amid Amidi, Jerry Liu, Dark Igloo

Columbus-based Leftchannel has been plugging away for over 10 years, but it’s been a while since we’ve posted them on Motionographer.

Their recently launched opener for the 2013 motion Conference, which kicks off this Friday in Albuquerque, breaks that silence. It’s a delightful typographic romp seasoned with cute character work and a couple visual surprises that make it worthy of repeat viewing.

Leftchannel’s Creative Director Alberto Scirocco will also be presenting three sessions at motion 2013.

Posted on Motionographer

Chances are you’ve seen either one or both of the Oreo “Wonderfilled” spots that have been burning up the interwebs.

The :90 anthem was directed by Martin Allais with animation by his own animation shop, Studio Animal. (Not to be confused with the Korean studio by the same name.) It’s a tour de force of 2D character work, packed with cute moments of hesitation and punctuated by charming type.

The :30 version by Royale uses a 3D/2D technique similar to their Christmas short, The Bell Ringer.

The chronically catchy tune was penned by Martin Agency creative director Dave Muhlenfeld and performed by Owl City.

NOTE: This post was updated to correct the studio attributed to the :90 spot.

Credits

:90 Anthem (Martin Allais)
Client Credits:
Global Marketing Communication: Jill Baskin
Brand Marketing Director: Janda Lukin
Agency Credits:
Chief Creative Officer: Joe Alexander
Group Creative Director: Jorge Calleja
Creative Director: David Muhlenfeld
Creative Director: Magnus Hierta
Senior Art Director: Brig White
Planning Director: John Gibson
Managing Director: Steve Humble
Senior Broadcast Producer: Kathy Lippincott
Broadcast Producer: Heather Tanton
Broadcast Junior Producer: Caroline Helms
Production Company: Studio Animal
Director: Martin Allais
Producer: Maria Soler Chopo
Illustration: Martin Allais
Storyboards: Martin Allais
Animatic: Pere Hernández, Javi Vaquero, Matt Deans
Animator: Pere Hernández, Javi Vaquero, Pablo Navarro, Dani Alcaraz
Tracing and color:Ezequiel Cruz, Macarena Ortega, Eva Puyuelo, Joel Morales
Compositing: Santi Justribó Martin Allais
Music:
Music (performed by): Owl City (Adam Young)
Voiceover talent: Owl City (Adam Young)
Original Music and Lyrics: David Muhlenfeld (English Major, LLC)

:30 (Royale)
Executive Creative Director/Partner: Brien Holman
Managing Director/Partner: Jennifer Lucero
Art Director: Andy Lyon
Designers: Jonathan Kim, Andy Lyon, Jennifer Olive Lee, Jason Cook, George Fuentes, Anthony Madlangbayan
3D Modeling/Surfacing Lead: Juan Carlos Cuadra
3D Character Animation: Andy Lyon, James Lane, James Parris, Ian Mankowski
3D Rigging: Ian Mankowski
3D Modeling/Rendering: George Longo, Juan Carlos Cuarda, Ian Mankowski, John W. Nguyen
3D Animation: Orlando Costa, Kevin Tonkin
2D Cel Animation: Andy Lyon, Anthony Madlangbayan

Storyboard Artists: Scott Richie/Brian Koons
Compositing: Mike Humphries, Renzo Reyes, John W. Nguyen

Head of Production: Danielle Hazan
Producer: Jamey Kitchens

Posted on Motionographer

Le droit de suite (The Resale Right) — VA from Pierre-Emmanuel Lyet on Vimeo (via Drawn).

Time and again I have been moved by the sense of solidarity that comes across from various discussions on Motionographer about protecting the rights of designers and artists (i.e., How do we look out for one another?). This is why when I came across this piece, I simply had to share it with you. It is gorgeously arresting in its simplicity, and informative. It’s been a while since I saw typographical-pictorial animation handled so well. So, enjoy!

According to Pierre, “The ADAGP is the French collective rights management society in the field of the visual arts (painting, sculpture, photography, multimedia, etc.). It represents almost 80,000 artists. They asked for a film that explains what the resale right is.”

Directed by Pierre-Emannuel Lyet, and made at French animation studio doncvoila.
Full credit list can be found on the Vimeo page.

Posted on Motionographer