DirecTV Goes Sci-Fi For Icecream

[NEWS=”http://www.cgnews.com/wp-content/uploads/directtv_fight_thumb.jpg”]28485[/NEWS]DirecTV goes sci-fi with their new “Ice Cream” spot directed by Rupert Sanders with MJZ for Grey New York. The film features a man headed toward the fridge to grab a bowl of ice cream who is followed by a pair of incredibly realistic cyborg robots as they fight their way through his apartment.

The spot highlights DirecTV’s capabilities of watching and pausing live TV from room to room, and was aired nationwide on the World Series Game One. MPC’s main task was to replace the arms and legs of the in-camera cyborg suits with 3D.

Legacy was hired by MJZ to design the cyborgs and build the suits. Although the suits were extremely realistic, Rupert’s vision was to strengthen the robotic nature even further. The MPC team therefore proposed a full 3D takeover of the upper and lower arms, thighs, shins and crotch areas.

MPC rotoscoped the front armor detail on the in-camera suit in preparation for the 3D robotic inner workings to be composited across 45 shots. The team also took on the huge task of restoring the background that would be visible through the limbs. This task was made even more difficult as every shot was handheld and no repeatable clean plates captured.

To achieve this, the 3D department made a proxy model of the entire set and projected photographs of the set onto the model. This projected proxy model was used with a 3D camera track to aid the 2D team with the background detail required.

The 3D matchmove department tracked the cyborgs to enable the animator and lighting department to render the robotic detail. Tracking markers were removed from the cyborgs in Nuke, and the cyborgs were replaced 100% in 3D within the second fire explosion shot. The fire explosion in the first pause moment, and the foreground crystal chandelier details, were also created in 3D. Once rendered, the 3D was composited in Nuke and Flame.

CREDITS
Client: DirecTV
Spot: Ice Cream
Director: Rupert Sanders

Agency: Grey New York
Agency Producer: Andrew Chinich
EVP Chief Creative Officer: Tor Myhren
SVP Creative Director: Denise O’Bleness
SVP Account Director: Alison Monk
VP Account Director: Tamar Arslanian

Production Company: MJZ
Production Company Location: LA
Director: Rupert Sanders
Production Company Producer: Laurie Boccaccio
Executive Producer: Eric Stern
DOP: Greig Fraser

Editorial Company: Work/Spotwelders
Editor: Neil Smith

Post Production Company: MPC
Post Production Company Location: Los Angeles
VFX Producer: Andrew Bell
VFX Supervisor(s): Franck Lambertz & Mike Wynd
Flame Artist: Franck Lambertz
Support: Brendan Smith, Saron Marcussen, Brinton Jaecks, Ryan Knowles, Ben Persons, Adam Frazier, Kim Stevenson
3D: Mike Wynd, Ross Denner, Daniel Marsh, Fred Durrand, Ian Wilson, Danny Wynne, John Cherniack, Maria Ocantos

Telecine Company: MPC LA
Colorist: Mark Gethin

RELATED LINKS
www.moving-picture.com

Charged Studios Back From the Future For 2010 Vote

[NEWS=”http://www.cgnews.com/wp-content/uploads/vote_newsman_th.jpg”]28343[/NEWS]Charged Studios went back to the future to create a bold interactive live-action spot that plays like a hijacked TV broadcast from the year 2057 – sending out a desperate plea for people to vote in the 2010 elections by showing what the future holds if they don’t.

Directed by Adam Pierce and Yaniv Raz, the video opens as actress Olivia Wilde (of ‘House’ fame), a tech-savvy political activist from 47-years in the future, interrupts a news program broadcasted in the year 2010 with an urgent message. Introducing herself as Olivia Kickin’ Chipotle Glazed Time Warner, she gives a frenzied, terrifying, acerbic – and sometimes humorous – account of an America governed by ‘RepubliCorp,’ a war-hungry, inept party that rose to power as a direct result of poor voter turnout in 2010.

The technically innovative imagery was designed, created and brought to life in 2010 by Charged Studios’ director/producer Adam Pierce and his staff of visual FX artists. The team spent a week designing, refining and executing the graphic elements for the video using After Effects. Charged Studios’ Andy Harmon deftly edited the spot, and created the jagged effects that gave it a distinctive futuristic look

Pierce also guided the aesthetic of the apocalyptic style of the set, creating the look of a clandestine rebel hideout. Charged’s designers and fabricators built the set in the company’s Brooklyn studio over three-days selecting an eclectic mix of props that included salvaged electronic components, metal scraps and army surplus supplies – to style the environment.

The interactive elements of the video were designed to allow viewers to automatically customize the video using Facebook. Individuals who choose to participate in the interactive element see their photos, hometown and friends on Olivia’s display.

Using an interactive audio track to move the personalization to the next level, MoveOn.org invites users to become part of the storyline by clicking on an element that prompts the character to yell out their names. Charged Studios’ audio division recorded over 500 names to facilitate this feature, as one feature in a multi-faceted audio mix by sound designer Daron Murphy.

Laura Dawn, creative director for MoveOn, was integral to the creation of the spot, including leading the client’s team and crafting the script with the Onion News Network’s Michael Pielocik.

Says Dawn, “Charged did an incredible job of bring our concept and script to life—in fact, the final product far surpassed our wildest dreams of what this interactive video could look and sound like. Charged knocks it out of the park every single time—they deliver creative media on time, on budget, that looks like we spent 2 million dollars on it. For a not- for -profit trying to break through a crowded messaging space, their talent & professionalism has been invaluable.”

The concept for the spot drew strong, immediate interest from talent, as Olivia Wilde came aboard as soon as she read the treatment. Next to sign on was Romany Malco who is best known for his roles in ‘Weeds,’ and ’The 40 Year Old Virgin.’ Romany brought intensity and hilarity to his role as the fellow political rebel, Alfonso Petfinder Dot Flavorblast.

“This is the second interactive video MoveOn.org has entrusted to Charged Studios,” notes Pierce. “We’re thrilled to have the opportunity to collaborate with talent of their caliber, and use our visual effects talent, technical experience and design aesthetic to help maximize the impact of their messages.”

About Charged Studios:
Charged Studios is an animation, CGI, design and live-action production company known for its artful fusion of organic mediums and cutting-edge technology to create cost-effective visual stories with both punch and wit. Our full-service approach to commercials, broadcast programming, promos, interactive spots and emerging media takes each project from concept to completions with a shared creative vision.

CREDITS
CLIENT: MoveOn.org
CATEGORY: web-interactive video
TITLE: Save The Future

AD AGENCY/CLIENT: MoveOn.Org
CREATIVE DIRECTOR: Laura Dawn
COPYWRITER: Laura Dawn, Onion News Network’s Michael Pielocik

PRODUCTION COMPANY: Charged Studios
PRODUCER: Mike Landry
EXECUTIVE PRODUCER: Adam Pierce
DIRECTORS: Adam Pierce, Yaniv Raz
DP: LA: Terrence Hayes
Additional Photography: Chadwick Davidson (NY)
ASSOCIATE PRODUCER: Daron Murphy
PRODUCTION COORDINATORS: LA: Lisa Remington, NY: Andy Harmon
ART DIRECTOR: Phillip Godwin
PRODUCTION DESIGN: Jon Craine
SET DRESSER/ LA: Paul “Pablo” Sison

ANIMATION + VFX COMPANY: Charged Studios
EXECUTIVE PRODUCER Adam Pierce
PRODUCER: Mike Landry
COMPOSITOR Djuna Wahlrab
MOTION GRAPHIC FX: Adam Miller
COMPOSITOR: Peter Blank

EDITORIAL/POST PRODUCTION COMPANY: Charged Studio
ON-LINE EDITOR: Andy Harmon
POST SUPERVISOR Eric Rothman

SOUND DESIGN + AUDIO POST COMPANY: Charged Studios
MIXER: Daron Murphy
SOUND DESIGNER: Daron Murphy

RELATED LINKS
www.charged.com
http://cnnbc.moveon.org/index.html

Calabash Goes Goth For Eternal Descent

[NEWS=”http://www.cgnews.com/wp-content/uploads/eternal_girl_thumb.jpg”]28285[/NEWS]Calabash Animation, the acclaimed animation studio led by Sean Henry and Wayne Brejcha, takes viewers into the animated fantasy world of ”Eternal Descent,” the popular comic book/music series created by guitarist Llexi Leon, with a new two-minute short that brings to life the gothic world envisioned in print by Leon and illustrator Jason Metcalf.

”The style of the comic was already established,” Henry says. ”The first part of our job was to adapt the characters into an animation-friendly style while keeping as much of the look and mood of the original comic as possible. It was a daunting task because the comic art is very detailed and naturalistic; there are few artists who can work in this style fluently. Many animators are comic book fans, and our creative team was excited about the challenge of working in this darker, more realistic style.”

A visually stunning fantasy comic book series published by IDW, ”Eternal Descent” features storylines filled with gothic adventures featuring guitar-wielding heroes. Acclaimed heavy metal guitarist Leon is the mastermind behind the story, which centers on three main characters — Lyra, a lead singer/guitarist in a popular band whose fame-at-any-cost attitude has made her vulnerable to Loki, a powerful demon plotting world domination. Helping Lyra is Sirian, one of heaven’s guardians. What unifies Lyra and Sirian is their weapon choice: searing electric guitars.

In addition to the powerful art of the comic books, which recalls the classic 70s animation magazine Heavy Metal with a modern spin, is the music created by Leon and produced by rock legend Eddie Kramer (Led Zeppelin, Jimi Hendrix, Rolling Stones).

The combined visual and audio components make ”Eternal Descent” a truly visionary concept that has led to thousands of fans and endorsements from leading music manufacturers like ESP Guitars, Digitech and DiMarzio guitar pickups.

”The concept was action heavy and effects heavy, and although the budget was limited, I was hoping for hand drawn character animation wherever possible,” Leon says. ”Everyone I spoke too said it couldn’t be done. Calabash was the only studio willing to take on the challenge without compromising the script. They were optimistic about the potential of the piece, and they understood what I was trying to achieve. More importantly, they had the creative vision to think well beyond the technical challenges of the action and effects sequences, confident that everything would be possible by mixing mediums and combining techniques.”

Set to an ominous musical score featuring some amazing guitar solos, the story line of the short centers on a concert featuring Lyra that quickly turns from cheering fans in an outdoor stadium to fire-eyed demons trying to capture Lyra. She falls from the stage, crashes through the ground and lands in an underworld coliseum where Loki confronts her. As the battle begins Sirian comes to Lyra’s aide. Lyra escapes, but the cliffhanger ending suggests it is only the beginning.

Calabash animation director Jessica Plummer led the creative team through the complex production. For her, the challenges centered on managing the production and character details.

”This was a very different project outside our usual fare,” Plummer says. ”As a director, the challenge was not only understanding the characters and their world, but also trying to convey that insight to the rest of the team. We wanted to reveal the nature of these characters — from their poses to their expressions. With so little time to get to know these characters before we started work, it felt like we were cramming for a final exam at school.”

Added Henry, ”Everyone knows Calabash for our high-end character work, but we are sometimes pigeon-holed because so much of our work tends to be more on the ‘cartoony’ side. This was a chance to show the world some of our other capabilities.”

About Calabash Animation:
Led by Creative Director Wayne Brejcha and Executive Producer Sean Henry, Calabash Animation, Inc. (www.calabashanimation.com) is the Chicago, IL-based animation production studio, known for its award-winning cel, 3D and stop-motion animation for the advertising and entertainment industries. Calabash Animation is perhaps best known for their creative development of some of America’s most beloved brand icons. In addition to working on some of today’s top advertising the company has also produced several acclaimed short films. It’s 2002 short ‘’Stubble Trouble’’ was nominated for an Academy Award in 2002.

CREDITS

Creative Credits:
Client: Eternal Descent/Llexi Leon
Project: Eternal Descent short

Animation: Calabash Animation, Chicago, IL
Creative Director: Wayne Brejcha
Executive Producer: Sean Henry
Animation Director: Jessica Plummer

RELATED LINKS
www.calabashanimation.com
www.eternaldescent.com
www.youtube.com/user/EternalDescent

Skoda Gets Mean With MPC

[NEWS=”http://www.cgnews.com/wp-content/uploads/skoda_small_thumb.jpg”]28266[/NEWS]Fallon’s Chris Bovill & John Allison were the creative minds behind Skoda’s latest spot, Mean Green Made of Meaner Stuff, directed by Nick Gordon. A petrolheads fantasy featuring the construction of the twin charged petrol engine with a supercharger and turbo Fabia vRS.

Starting with a nod to its predecessor “Cake”, it suddenly transforms into a metal rendition of “My Favourite Things”. This car is built from altogether meaner stuff.

The spot was produced by Angus Smith at Fallon and Sally Campbell at SomeSuch & Co. MPC provided the post, creating the CG snake engine, robot arm, bone chassis and extensive compositing.

MPC’s team led by Rob Walker worked closely with the Director to ensure all the necessary elements were captured in the live-action shoot. While the shoot was taking place in Prague, MPC’s Concept artists were exploring different treatments for the CG elements.

The snake engine needed to look like an engine yet be able to come alive as convincing snakes. The final design used a mix of realistic snake textures combined with metallic/engine textures to create this illusion.

The Robot Arm was required to unfold and extend up to 60 feet to allow the car to be painted in a very precise and dynamic way. The bone chassis was created using digital matte painting, sticking very closely to the design of the actual chassis yet introducing elements of skulls and bone imperfections for the scavenging vultures.

Once the concept was signed off the 3D team was responsible for modeling, texturing and animating the snake engine and robot arm using Maya and Mental Ray. MPC’s 2D team worked on Flame and Nuke to integrate these elements into the live action plates.

The footage was enhanced in post to help the technicians make the various components that form the final car. Smoke, sparks, heat haze and the laser eye beam was also added in post. The spot aired in the UK on 1st November 2010.

The Moving Picture Company (MPC) is a world leading post production facility creating high-end digital visual effects and computer animation for the feature film, advertising, music and television industries. A wholly owned subsidiary of Technicolor, MPC is based in Soho – London, Santa Monica – CA and Yale town – Vancouver.

CREDITS
Director: Nick Gordon
Agency: Fallon
Agency Producer: Angus Smith
Creatives: John Allison and Chris Bovill
Production Company: SomeSuch & Co
Producer: Sally Campbell
DOP: Mattias Montero

Post: MPC
Post Producer: Julie Evans
VFX Supervisors: Rob Walker and Jake Mengers
VFX Team: Chrys Aldred, Andrew Brooks, Remi Cauzid, Maurizio de Angelis, Spiros Kalomiris, Carsten Keller, Adam Leary, Jake Mengers, Jorge Montiel, Mikael Pettersson, Christophe Plouvier, Rob Walker
Telecine: Jean Clement Soret

RELATED LINKS:
www.moving-picture.com

BIGSMACK Brings Killer Look To AMC’s Fearfest

[NEWS=”http://www.cgnews.com/wp-content/uploads/fearfest_reel_thumb.jpg”]28168[/NEWS]It’s almost Halloween and that means it’s time for AMC’s annual FearFest – the network’s line-up of classic horror flicks. Helping set the creepy tone is the work of live action/design studio BIGSMACK, who teamed with AMC to create an extensive package of promo and branding elements including opens, bumpers, lower-thirds and IDs.

“AMC wanted us to create an authentic film fest vibe,” Jason Salo, BIGSMACK’s Sr. Art Director, says. “The films they’re featuring are well thought out and paired together in the way a good film festival would. We wanted to get that across in our design.”

To affect that vibe Salo and the BIGSMACK creative team took over an old vacant theater in Lansdowne, Pennsylvania, that has been shuttered since the late 1980s.

Inside those musty surroundings BIGSMACK captured an array of surreal perspectives and haunting POV’s, such as the dramatic shot seen in the:10 open of a gothic wall complete with pillars as seen from the POV of someone (a victim perhaps?) looking up from the floor.

That live action was composited with numerous 2D and 3D animated elements, most notable is 3D sinister-looking marquee complete with eerily flickering lights and a doorway that vaguely resembles a face.

“We were going for dark, spooky feel, and because of that we spent a lot time perfecting the lighting,” Salo notes. “They also had a gorgeous old velvet curtain that we put to good use. The combination of live action, design and treatments conceptually set the perfect tone for Fearfest and communicated the idea that this is indeed a film festival.”

About BIGSMACK

Lead by Creative Director Andy Hann, BIGSMACKtv is a full service creative agency specializing in the broadcast industry. From their offices in downtown Philadelphia, BIGSMACKtv creates, produces, designs and posts image and promotional campaigns for the world’s leading entertainment providers. Recent clients include Discovery Channel, Nat Geo, HBO, Comedy Central, Sundance and A&E, among others.

CREDITS
Client: AMC
Project: Fearfest branding/promo elements
Airdate: October 2010

Production/Design/Post: BIGSMACK, Philadelphia, PA
Head of Creative: Andy Hann
Senior Art Director: Jason Salo
Executive Producers: Heidi Erney, Kelly Dials
Producer: Laura Gillespie
Visual Effects Director: Dave Zeevalk
Designer/Animator: Rick Malwitz

RELATED LINKS
www.bigsmack.tv

Brand New School Work Their Design Magic For The BBC Radio 2 Electric Proms Trailer.

[NEWS=”http://www.cgnews.com/wp-content/uploads/bbc-proms.jpg”]28134[/NEWS]Production company and design studio Brand New School London is very proud to announce its role in designing and directing a 30″ promo trailer and additional visual content for advertising agency Fallon’s campaign promoting the BBC Radio 2 Electric Proms. Radio 2’s Electric Proms is dedicated to creating new moments in music.

Created under the direction of Fallon’s executive creative director Augusto Sola, art director Gary Anderson and copy writer Tony Miller, the innovative stop-motion trailer directed by BNS’s Jonathan Notaro and Mario Stipinovich debuted on Thursday 21st October, on the BBC. The trailer promotes this year’s Electric Proms performances from Elton John, Robert Plant and Neil Diamond, taking place from Thursday, 28 October, until Saturday, 30 October at the Roundhouse in London.

BBC “Electric Proms” from Brand New School on Vimeo.

“This is always such an exciting event, and we are always really thrilled to be part of it,” said Fallon CEO Gail Gallie. “The campaign captures all of that excitement in a really fresh and original way.”

“We were thrilled to be asked by Fallon to submit a treatment for this amazing, high-profile project, and then to be awarded the job” began Kayt Hall, executive producer for BNS London. “The main idea behind the script was creating the faces of these iconic artists from actual pop memorabilia. We could not be happier with the results: It plays to all our strengths – strong design, great animation, and an end product that everyone is delighted with.”

As Notaro explained, “In keeping with the agency’s sentiments, we proposed producing the content practically through stop-motion animation, knowing that making physical objects move together to create readable portraits would give the idea the payoff and spectacle it deserved.”

Planning for the ambitious production involved gathering, and in some cases, producing, props of the proper scale, anticipating that each face would be approximately 6 metres wide when assembled. Over the course of six days on a set in East London, in close collaboration with director of photography Toby Howell and using a Canon EOS 5D Mark II with Milo and Juno motion control rigs, the crew hand-animated the prescribed actions in reverse order (beginning with the final collages), capturing each sequence completely in-camera with single takes. The project was finished in Adobe After Effects at BNS London’s studio.

In addition to Notaro, Stipinovich, and Hall, credits for BNS London also include producer Kat Harrison, lead animator Andy Biddle, art director Andy Kelly, editor Jamie Foord, compositors Cassiano Prado and David Pocull, and rotoscope artist Rebecca Clay. Audio post is courtesy of Wave.

More information on Electric Proms is available online at www.bbc.co.uk/electricproms.

About Brand New School
With offices in New York, Los Angeles and London, Brand New School is a vertically integrated production company and design studio that delivers extraordinary media on all platforms. Offering a new model for creative digital production, we are filmmakers, developers, designers, animators, editors, illustrators, and producers dedicated to driving communications to new heights. Akin to leading academic institutions, our guiding philosophies prize experimentation and learning, and our commitment to discovering the best ideas for our clients is absolute. For more information, please visit www.BrandNewSchool.com.

PROJECT CREDITS:
BBC “ELECTRIC PROMS”
Project Name: BBC “Electric Proms”
Project Length: :30
Debut Date: 21 Oct. 2010
Toolset: Canon EOS 5D Mark II, Adobe Creative Suite, Autodesk Maya (previs), Adobe After Effects.

Client Company: BBC Radio 2
Head of Marketing: Claire Jullien

Advertising Agency: Fallon
Executive Creative Director: Augusto Sola
Art Director: Gary Anderson
Copy Writer: Tony Miller
Group Account Director: James Townsend
Account Director: Romilly Martin
Agency Planner: Michael Lean
Agency Producer: Natalie Curran

Production Company: Brand New School London
Directors: Jonathan Notaro & Mario Stipinovich
Executive Producer: Kayt Hall
Producers: Kat Harrison, Joanna Yeldham (Red Bee Media)
Director of Photography: Toby Howell
Lead animator: Andy Biddle
Art Director: Andy Kelly
Editor: Jamie Foord
Compositors: Cassiano Prado & David Pocull
Rotoscope Artist: Rebecca Clay

Mix Company: Wave

RELATED LINKS

www.brandnewschool.com

New VFXTalk Challenge – 28 Days of Rain for Zombie Community

[NEWS=”http://www.cgnews.com/wp-content/uploads/28+days+later1.jpg”]28014[/NEWS]The fourth challenge in the fourth series of the VFXTalk Challenges is now live! The new task will test weather simulation talents of the VFXTalk community. So read on! and then follow the link below to the full challenge details in the VFX Challenge forum.

The Zombies are restless and destructive and the incessant rain isn’t helping matters. It’s been 28 days since the heavens opened and the harsh climate is certainly not dampening the blood lust!

The VFXTalk Challenge series now invites you to showcase your bad weather simulation talents! VFX404 challenges you to set a scene reminiscent of those dark days and nights from Danny Boyle’s 28 Days later.

Create a miserable storm embattled world, a scene immersed in drizzling rain and fog; or struggling against a major gale or tornado.

Take your zombie, (or zombies) up a deserted city street, through a rain drenched forest or leave them pacing inside a leaking building. The more desolate and weather damaged your setting is the better.

You will have to deal with moving cameras and the integration of your zombie into the environment. Your matte painting skills will be needed to bring this horror piece to life!

You can introduce 2D or 3D elements just make sure to create a destructive and depressing atmosphere, the kind of place where a creature from the dead will feel right at home!

Follow this link for all the details! Submissions start today and will close on the 30th of November…. Good Luck!

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Poptastic Campaign Created By Nathan Love!

[NEWS=”http://www.cgnews.com/wp-content/uploads/pscs-1l.jpg”]27988[/NEWS]NEW YORK — Oct. 18, 2010 — The principals of world-class animation studio Nathan Love (www.NathanLove.com) are very proud to announce the debut of “When Harry Met Sally,”their latest in a series of animated commercials for Pop Secret(R) premium popcorn. The campaign began airing earlier this year with two movie-themed spots, “Caddyshack” and “The Dark Knight.” “When Harry Met Sally”further expands the Kernels’ world, introducing Vinny and Bruce, two sports-loving college buddies and roommates, to a growing cast of characters.

All three commercials will begin a four-week run today, airing over 500 times across ESPN, USA, FX, TBS, TNT and Lifetime networks. They will also appear through Pop Secret’s integrated movie sponsorships on FX, TNT and Lifetime during this period.

“What makes this campaign so popular among viewers are its strong entertainment values and its sense of humor,” said Nathan Love’s executive creative director Joe Burrascano. “The iconic Kernel family is made up of lovable characters with unique personalities and flaws. They warmly invite us into their homes, and the results are engaging spots that play more like :30 sitcoms than commercials.”

Nathan Love’s executive producer Mike Harry added, “Soon after adding Pop Secret to their brand portfolio, which also includes Emerald(R) Nuts and Kettle Brand(R) Potato Chips, Diamond Foods turned to Goodby, Silverstein & Partners with the goal of making Pop Secret even more distinctive and recognizable. Naturally, we were very excited to work with them on the Kernels campaign, with its ownable world, original characters and ability to expand the Pop Secret brand across all media platforms.”

The Kernels also appear on the brand’s website (www.popsecret.com), and are featured in Pop Secret’s product packaging and promotional displays showcased in retail settings across America. With an endless supply of movie inspiration to draw from, the Kernels campaign has many opportunities to continue to grow.

“The Kernels’ campaign has resonated strongly with Pop Secret consumers driving the brand’s association with enhanced movie nights at home,” said Andy Allcock, Director of Marketing, Pop Secret. “We are thrilled to be debuting the new When Harry Met Sally spot this week as we believe it to be Nathan Love’s best work yet!”

Launched in New York in 2007, Nathan Love has quickly become known for creating lovable, original animated characters, and this high-profile campaign is a big reason for that. At the 31st Annual Telly Awards this June, which judged nearly 11,000 entries from all 50 states, Nathan Love received seven honors, and four of them (Commercial Winner for Use of Animation and Food/Beverage, Bronze for Art Direction and Use of Humor) were for “The Dark Knight.” Also, Burrascano was honored at this year’s SHOOT Magazine New Directors Showcase, where his screening of “The Dark Knight” earned a huge wave of applause.

For other brands and agencies seeking to develop their intellectual properties across different media platforms, Burrascano feels Nathan Love has a lot to offer. “We now have the experience and skills necessary to develop characters and other assets for cinema, television, games and online content, print, toys, merchandise and beyond,” he explained. “For example, we produced ‘When Harry Met Sally’ in stereoscopic 3D, even though it wasn’t anticipated for this campaign. We hope that shows how resourceful we are as production partners to our clients.”

“Working with GS&P, we’ve had the chance to design new characters, produce the sound design and original score (with Drew Skinner), and offer input into the scripts and casting sessions,” said Harry. “They’ve shown tremendous faith in our abilities, and we’ve been inspired by their trust. Having these spots back on the air is a huge thrill for us all.”

Nathan Love’s visual artists on this campaign used countless tools, digital and traditional. In their digital toolkit, Adobe Photoshop was used for design and matte paintings, Autodesk Maya for 3D modeling and animation, Z-Brush for additional modeling, Adobe After Effects for compositing and animation, The Foundry’s Nuke for additional compositing, and Temerity Pipeline for rendering and project management.

Campaign credits for Goodby, Silverstein & Partners include creative director Steve Simpson, associate creative director Erik Enberg, art director Jason Warne, copywriter Jon Wolanske, producer Rob Sondik, account director Darren Brady-Harris, account manager Julie Evans, and assistant account manager Thaddeus Scannell. Complete project credits for Nathan Love are available upon request.

About Nathan Love

Break out the crayons and beer, because Nathan Love is ready to play! This world-class animation studio is known for creating memorable characters, detailed worlds and engaging narratives, making it a party and inviting your whole crew. Driven by a passion for storytelling, their creative, technical and production capabilities are constantly evolving. Equally at home creating sensational 2D and 3D animation, the studio’s talents span all aspects of project creation and production. They are creators of commercial campaigns, original films, super-fun web content, video game projects, merchandise and more. Besides their extraordinary craftsmanship Nathan Love is also fun and inviting to work with, enjoying daily collaborations with leading creatives, live-action and CGI directors, sound designers, composers, web developers and other artists. So next time you’re dreaming-up a project, drop your briefcase and join the fun at www.NathanLove.com

RELATED LINKS:

www.nathanlove.com/
www.popsecret.com

CS Films Bring Chills to Social Thriller ‘Four Boxes’

[NEWS=”http://www.cgnews.com/wp-content/uploads/fourboxes_ghost_thumb.jpg”]27924[/NEWS]CS Films, the turn-key animation, VFX and post production company dedicated to the feature film market, provided the color correction, online/finishing, visual effects postproduction services for indie film ‘Four Boxes,’ described by filmmakers Wyatt McDill and Megan Huber as the “Rear Window of the internet.”

The indie film, starring award-winning actor Justin Kirk of Weeds and Angles In America fame – has been picked up for North American DVD, VOD and broadcast distribution by E1 Entertainment.

“Four Boxes” is a social thriller that explores a dark scenario inspired by society’s increasingly internet-based lives. CS Films’ full-roster of color correction, online editing, visual effects and finishing services were key to achieving a look that takes film noir to the next level.

CS Films’ award-winning colorist Sue Lakso, online/finishing artist Mark Anderson, online art, FX artist Sean Hall and Adam Celt lent their talents to the post-production of the film, as well as the trailer and web content. The Minnesota-based husband and wife filmmaking team worked closely with CS Films’ producers Heidi Habben and Donna Drewick on the project.

Producer Megan Huber notes, “The CS Films team really gave their all during the post-production process on ‘Four Boxes’. The film really benefitted from their dedication and incredible eye for detail. Plus, everyone there is a joy to work with.”

Writer/director McDill is an accomplished filmmaker who recently won a Jerome Foundation and a Minnesota State Arts Board Grants for his short, “Garbage Man.” Earlier shorts “Shortwave” and “Have You Seen Me?” showed respectively at Slamdance, the Independent Film Channel, and at the Walker Art Center, among other places. He has penned television scripts for “Film Finds” and helped to found the Central Standard Film Festival.

Megan Huber is a commercial, film and television producer, whose credits include production-managing one season of “Let’s Bowl” for Comedy Central, as well as the recent South by Southwest documentary, “Dirty Country.”

CAST
Justin Kirk as Trevor Grainger
Terryn Westbrook as Amber Croft
Sam Rosen as Rob Rankrus
Bain Boehlke as the Neighbor

CREDITS
Directed by Wyatt McDill
Written by Wyatt McDill
Produced by John Allen, Megan Huber & Brady Kiernan
Original Music by Ken Brahmstedt
Cinematography by Brian Lundy
Film Editing by Brett Astor

www.fourboxesthemovie.com
www.cs-films.com

Framestore Scores A Blinder For New FIFA 11

[NEWS=”http://www.cgnews.com/wp-content/uploads/fifathumb.jpg”]27901[/NEWS]Framestore has worked alongside director Johnny Green and W+K Amsterdam for the anticipated launch of the new FIFA 11 game from EA SPORTS. EA SPORTS host teams of global football stars and their mates, high on competitive spirit, battling it out in a vast virtual stadium.

Directed by Johnny Green, the spot is an effects-laden affair covering two-minutes, 130 VFX shots and nine edits. Jonathan Hairman supervised the shoot, overcoming the dual challenges of a vast convention centre combined with a limited amount of time with each star to capture essential shoot data and readable tracking markers.

The entire stadium was built in CG as believably contemporary architecture with the screen as its focal point. Framestore also designed a photoreal crest for each team and thanks to the gyrosphere camera, painstakingly painted out rigs from every single shot.

Additionally to help the momentum of the camera moves, Framestore created digital whip pans to help join shots but also help link opposing teams in terms of story telling. These whip pans consisted of the CG stadium with intricate graphic design elements created in flame.

With the exception of some 16mm footage, the workflow was entirely tapeless; data was taken straight from the set ready for AVID, conform and DI, as crafted by our very own Dave Ludlam.

Framestore has been working in digital film and video for over 20 years now, creating original and astonishing work that has helped make it the largest visual effects and computer animation studio in Europe.

Amongst Framestore’s notable commercial credits are Smirnoff Sea (winner 2007 VES ‘Visual Effects in a Commercial’, The Chemical Brothers The Salmon Dance, Casino Royale – Title Sequence, Vauxhall C’mon campaign , Sure Go Wild, Guinness noitulovE, Johnnie Walker Fish, Levi’s Odyssey and Guinness Surfer.

CREDITS:

AGENCY Wieden & Kennedy
AGENCY PRODUCER Jaime Tan
PRODUCTION COMPANY Knucklehead
DIRECTOR Johnny Green
PRODUCER Lyndsey Turnham

RELATED LINKS:
www.framestore-cfc.com
www.ea.com

SOURCE:
Framestore-cfc.com