Hasta La Motion!

Co-directed by Mark Zibert (Sons and Daughters) and Gary Thomas (Crush), “Legendary Biru” is beautifully detailed two-minute film. Shot on location over a month in Guangzhou, China, it is a linear journey though Japan’s rich cultural heritage that reveals the brewing process behind Sapporo beer.

This film follows the success of Crush’s collaboration with Marco Brambilla on his Civilization piece for the Standard Hotel in NYC.

Credits:

Client: Sapporo
Agency: Dentsu Canada Inc.
Creative Directors: Glen Hunt, Les Soos
Writers: Glen Hunt, Dhaval Bhatt
Art Directors: Les Soos, David Glen
Agency Producer: Sharon Kosokowsky
Strategic Planner: Jeff McCrory
Account Director: Tim Binkley
Cultural Consultant: Nobu Tanaka

Directors: Mark Zibert, Sons and Daughters and Gary Thomas, Crush
Live Action Production Company: Sons and Daughters
Executive Producer: Dan Ford
DOP: Kevin Chan
Producer: Jeff Darragh

Post Production/Post Visual Effects: Crush
Creative Director: Gary Thomas
Executive Producer: Jo-ann Cook
Producer: Stephanie Pennington
Art Director: Yoho Hang Yue
Lead VFX Artist: Sean Cochrane
VFX Artists: David Whiteson, Naveen Srivastava, Kaelem Cahil, Greg Dunlop
Junior VFX Artist: Andre Arevalo, Patrick Moore
Rotoscope: Gavinesh Patel, Kyle Steffler
Animation/CG Supervisor: Aylwin Fernando
Senior Animator: Chris Minos
CG Artists: Josh Clifton, Mark Irish, Gene Dreister
CG Production Managers: Raphael Quirino, France Dreitser
Matte Painters: Yanick Dusseault, Bojan Zoric, Jorgen Lauritzen

Transfer House: Notch
Colourist: Gary Chuntz

Music Company: Grayson Matthews
Producer: Dave Sorbara
Composers: Grayson Matthews
Engineer: Annelise Noronha

Posted on Motionographer

As an appetizer to the hotly anticipated World Cup, Argentinean studio, PepperMellon, has jockeyed their way to front-lines and served up a playful treat to whet the appetites of commercial-goers and sport fans alike. With help from Wieden + Kennedy (London) and Stink, the studio has looked to character based animation in a cheerful and carefree advert made to raise awareness for The Guardian and Observer’s involvement in the upcoming sporting event.

Through a kaleidoscope of shots, the spot shows how —no matter where you are— the world can freely enjoy the footballing action of the event. With every changing scene, characters are depicted to be gleefully reacting to a World Cup moment that ripples across all cross-media platforms. The spot has a cute look. Like so many of the PepperMellon’s work, it finds a color palette that’s bright and welcoming, but not too pushy. In testimony to the music, the distinctively British tune is a perky, footballing hym that sings the praises of the event and mirrors the fun-for-sun’s-sake mood of the piece, which will leave you humming the foot-tapping ditty non-stop.

For a behind-the-curtain look at how the spot came together, see here.

Posted on Motionographer

I’ve been watching this project evolve over the past few months and it’s scope and depth has grown to something worth noticing.

As part of a global filmmaking project, One Day on Earth is asking the creative community, “If you can document something to share with the world, what would you film?” This call-to-action is all part of a shared international video archive that is filming on 10/10/10.

Onedayonearth.org is an online community of filmmakers, students, and inspired individuals all teaming up to film in every country in the world during this 24-hour period. The results of the project will be an accessible archive of shared video that participants can download and use for non-commercial purposes. The organizers, who are affiliated with the non-profit Creative Visions Foundation, will also produce a flagship doc with the footage. Since all the footage is the domain of those who’ve submitted, there will be other short and feature pieces born from the archive as well.

So far, the participants range from Academy Award nominated documentarians to NASA to school children of remote areas of the 3rd world and nonprofits like Shine on Sierra Leone, Rally for Iraq and many, many more.

To participate, upload short pieces of documentation no longer than 10
minutes. More specs to come as we approach 10/10/10.

Posted on Motionographer

Poppy Flower, Poinsettia, Stolen Kiss, Electric Lime… the passion in a paint swatch. Check out “Bees”, Buck’s second spot for Sherwin-Williams. If you missed it, watch the first spot and read our interview with creative leads Orion Tait, Benjamin Langsfeld, Joshua Harvey, and Motionographer’s Jon Saunders.

For this round, the creative evolves toward a fuller, bolder narrative with ambitious bees and landscaping. The message? You, too, can have a colorful hive, people. This campaign is really smart, and so are the creatives at McKinney who’ve let Buck do their character and story thing with color swatch sweetness.

Buck is currently working on the third spot for this campaign. Stay tuned.

Posted on Motionographer

For those of you who’ve seen Iron Man 2 (has anyone not seen it?), you know that Robert Downey Jr. shares the screen with Mickey Rourke and Don Cheadle for some of the film’s most intense sequences. But the real co-stars—the real palladium in Iron Man’s chest—are the ubiquitous motion design elements laced throughout the entire narrative.

From heads-up displays to preternaturally responsive real-time 3D interfaces, Tony Stark is augmented as much by stunning graphics as by his trademark power suit. Motion graphics even play a crucial role at the film’s turning point, delivering a life-saving “eureka” moment to Stark just in the nick of time.

While a huge number of people and crews worked on the visual effects shots that made Iron Man the box-office smash it quickly became ($251M domestic and counting), we’re going to zero in on the epic work put forth by Prologue, who’ve shared a generous chunk of the process work behind their staggering slate of deliverables.

Read on…

Posted on Motionographer