Prime Focus VFX Adds Sparkle to New Moon

[NEWS=”http://www.cgnews.com/wp-content/uploads/newmoon_ed_th.jpg”]22667[/NEWS]Prime Focus VFX, formerly Frantic Films VFX, has completed 175 visual effects shots for the Summit Entertainment release, “The Twilight Saga: New Moon” directed by Chris Weitz. Prime Focus contributed a majority of the film’s most frequently featured visual effects, including CG water, atmospherics, CG matte painting and environment work, and the “Diamond Skin” effect on Edward and the other vampire characters. “The Twilight Saga: New Moon” is based on the popular series of novels by Stephenie Meyer.

Prime Focus’ newly expanded Vancouver studio, which has become the VFX hub for the company’s North American operations, handled the bulk of the work on “The Twilight Saga: New Moon,” which was shot on location in British Columbia. Key effects included creating apparitions of the Edward Cullen character and custom designing the “Diamond Edward” effect, whereby Cullen’s skin sparkles when coming into contact with sunlight.

Director Chris Weitz and his Visual Effects Producer Susan MacLeod tasked Prime Focus with evolving this signature Diamond Skin effect so that Edward’s skin refracted light as if diamonds were embedded under his skin.

The Prime Focus team, led by Visual Effects Supervisor Eric Pascarelli, went through extensive look development to achieve this effect, and used as its inspiration Greek Thassos marble, a very white, translucent material with flecks that reflect light very efficiently. The team even had a slab at the office for the CG artists to use as reference.

Quote:

“Creating the diamond skin effect turned out to be a very rewarding experience.” said Pascarelli. “The effect appears many times throughout the film in several very different scenarios. It was challenging because the diamond effect appears in sunlight, whenever Edward’s already very pale skin is lit by sun, and on top of all of that brightness, there needs to be a convincing diamond-like sparkle. Film doesn’t really have enough brightness range to do this, so we had to resort to some trickery, such as lens effects, flares and light rays to give the feeling of super-bright glimmer.

In addition to all of that, we needed to show the skin having a translucent glow. There was a very delicate balance of the elements that make up the effect. We used 3D particle geometry dispersed over a CG model of Edwards’ head to reflect several artificial environments in order to create the sparkles and rays. Chris and Susan loved what we came up with very early in the process, which ended up being one of the happy surprises during production.”


Prime Focus’ Vancouver studio also collaborated with its Digital Matte Painting department in Los Angeles (headed by Ken Nakada) on recreating the movie’s Forks High School, as well as craggy cliffs overlooking the ocean and other 100-percent CG environments depicting the movie’s Washington State locale. Prime Focus also contributed CG water for multiple scenes and two elaborate time passage sequences featuring the Bella Swan (Kristen Stewart) character in complicated multipart motion control shots.

For the cliff scenes, Nakada and his team designed the entire landscape using several locations in Vancouver’s Whytecliff Park as reference material. The team also provided on-set VFX supervision for MacLeod and Weitz on a greenscreen shoot at Vancouver Film Studios of a stuntman jumping 70 feet off a tower as a camera rig does a 270-degree tilt, following him from the top of the cliff until he hits water. Additionally, Prime Focus created several digital doubles and did face replacement for the actors jumping off the cliff.

Overall, a team of 45 across Prime Focus Vancouver and Los Angeles were brought onto “The Twilight Saga: New Moon.” Prime Focus’ key software packages included Autodesk Maya, Autodesk 3ds Max and Autodesk Mudbox for 3D modeling, eyeon Fusion for compositing, Prime Focus Software’s Krakatoa for particle rendering, Prime Focus Software’s Flood and Flood: Surf for fluid simulation.

About Prime Focus
Prime Focus is a global Visual Entertainment Services group that provides creative and technical services to the film, broadcast, commercials, gaming, internet and media industries. The group offers a genuine end-to-end solution from pre-production to final delivery – including previsualisation, equipment hire, visual effects, video and audio post-production, digital intermediate, digital asset management and distribution.

Prime Focus employs more than 1200 people with state-of-the-art facilities throughout the key markets of North America, the UK and India. Using its ‘worldsourcing’ business model, Prime Focus provides a network that combines global cost advantages, resources and talent pool with strong relationships and a deep understanding of the local markets.

RELATED LINKS:
www.primefocusworld.com
www.newmoonthemovie.com/worldoftwilight

Monkeyhead Use MAXON CINEMA 4D For HBO’s Hall of Fame

[NEWS=”http://www.cgnews.com/wp-content/uploads/rockhall_guitar_thumb.jpg”]22654[/NEWS]MAXON Computer has announced that motion design studio Monkeyhead have leveraged MAXON’s award-winning CINEMA 4D 3D software application, to create a bleeding-edge motion graphics-intensive 30-second teaser graphic spot and an entire promo graphic package for HBO’s highly anticipated The 25th Anniversary of the Rock and Roll Hall of Fame Concert. The promos are currently airing on HBO and show viewers the names of the legendary rock stars that will be performing during the concert special and demonstrate the advanced functionality in CINEMA 4D with a composite of highly stylized, 3D photo real images that convey the massive scale of the all-star line-up.

The 25th Anniversary of the Rock and Rock Hall of Fame Concert airs as a four-hour special and features performances from musical legends such as Aretha Franklin, U2, Bruce Springsteen, Stevie Wonder, Mick Jagger, Sting, Simon & Garfunkel, Jeff Beck, and many others. The actual historic Hall of Fame 25th Anniversary Concerts took place over two nights at Madison Square Garden, on October 29th and 30th. HBO is producing and airing the broadcast on November 29th about the two night concerts as a tribute to the legendary musical extravaganza.

Josh Sahley, founder and creative director at Monkeyhead, commented that HBO tasked the studio with creating promos that would amplify viewer interest in one of the greatest concert gatherings of the world’s most exalted rock stars ever assembled – many of them Hall of Fame inductees. HBO also informed Sahley that the use of existing photographs, video footage or music cues of any of the performers was not permissible. The studio was given three weeks to complete the project.

“Monkeyhead was thrilled to take on the creative challenge of emphasizing the individual talents of so many of the world’s greatest rock icons in a fresh and innovative way without relying on existing footage or music. We came up with the idea of finding one instrument-related image that personified each artist as a springboard to create a motion graphics treatment,” explained Sahley.

“CINEMA 4D is our core 3D software package and was used throughout every aspect of the campaign’s content creation process. We especially appreciate its ease-of-use for meeting a wide range of motion graphics needs – from photo real product and location projects to kid-friendly toon shaded designs. We knew we could rely on the MoGraph and NetRender modules for the Hall of Fame 25th Anniversary Concerts, and did so, pushing both to the maximum since they make typically complicated procedures simple and stress-free while providing us with endless creative and time-saving options.”

“We are delighted that CINEMA 4D played a central role in providing Monkeyhead with flexible and reliable tools to bring its creative vision to this extraordinarily high profile project to life,” says Paul Babb, President and CEO, MAXON US. “The team at Monkeyhead continues to push the creative boundaries of the software in new directions even when they are working against tight deadlines challenges – a testament to the power and stability of our software.”

The creative team at Monkeyhead began the creative process by doing research on each of the performers to identify appropriate images and work up storyboard concepts. They then “jumped into” CINEMA 4D to explore camera moves and model all the instruments. “We decided to build all the models as photo-real 3D images in CINEMA 4D to realistically and meticulously capture the unique characteristics of each artist ranging from Aretha Franklin’s vintage vocal microphones, the beat-up grain pattern on Bruce “The Boss” Springsteen’s wood Telecaster guitar, U2’s drum set layout, a piano keyboard to represent Stevie Wonder, and much more. In addition, we created a graphic ‘expression mark’ to punctuate the explosive line-up represented by a photo-real guitar bursting into flames.

“The functionality in the MoGraph module offers an incredibly dynamic range of tools to create motion graphics and advanced features like global illumination and caustics further allowed us to achieve the desired degree of realism. When we showed HBO the final spot they asked which images we created and which ones were pulled from existing sources because they couldn’t believe the photo-realistic quality we had accomplished,” added Sahley.

Once the look and feel of the shots were established, Monkeyhead dropped them into CINEMA 4D’s NET Render for multi-pass rendering on 8-core Mac Pro’s and 8-core Mac’s dual-booted with PC, and then brought them into Adobe After Effects for final compositing. This process was repeated for each musical element. “Unlike other packages that claim they have networked rendering, CINEMA 4D’s NET Render was extremely simple to set up and gave us enhanced flexibility and creative control to experiment with transitions and to achieve a stylized, 3D photo-realistic film-like look. This, coupled with its seamless integration into other third party apps was also a big part of the reason we were able to complete the project within the short deadline.”

Monkeyhead has recently used CINEMA 4D to complete several other notable projects, including design oriented work for Red Bull, photo real commercial work for Ghiradelli and photo-real special effects in the theatrically released Eschelon Conspiracy.

About Monkeyhead
Monkeyhead was launched in Santa Monica, California, in 2006 by well known Los Angeles motion design artist and creative director Josh Sahley. By delivering consistently innovative projects and focusing on total dedication to an A-list roster of ad agency and consumer brand clientele, the company quickly built a solid track record and reputation. Since moving to a larger studio in Culver City in 2008, under Sahley’s creative direction and through his management approach pairing specific artistic teams for individual assignments, Monkeyhead continues to evolve its style in delivering groundbreaking commercial spots, broadcast show packages, branded entertainment, movie/TV titles and visual effects sequences. Additional information on Monkeyhead is available at www.monkeyhead.com.

About MAXON Computer
MAXON Computer is a developer of professional 3D modeling, painting, animation and rendering solutions. Its award-winning CINEMA 4D and BodyPaint 3D software products have been used extensively to help create everything from stunning visual effects in top feature films, TV shows and commercials, cutting-edge game cinematics for AAA games, as well for medical illustration, architectural and industrial design applications. MAXON has offices in Germany, USA, United Kingdom, France and Japan. MAXON products are available directly from the Website and its worldwide distribution channel. Specially priced learning editions of the company’s software solutions are also made available to educational institutions. For additional information on MAXON visit www.maxon.net.

Ingenuity Engine Transforms Chris Brown

[NEWS=”http://www.cgnews.com/wp-content/uploads/brown_bike_thumb.jpg”]22646[/NEWS]Boutique visual effects studio Ingenuity Engine has collaborated once again with director Joseph Kahn on a futuristic new music video for R&B singer Chris Brown’s track “I Can Transform Ya,” the first single off his forthcoming album Graffiti (due Dec. 8). Ingenuity Engine created a VFX-intensive and hyper-stylized world for the video, which premiered Oct. 27th and features Chris Brown, producer Swizz Beatz and rapper Lil Wayne as they deconstruct and shapeshift into sports cars, armored tanks, helicopters and other objects.

Ingenuity Engine has had a longstanding relationship with Kahn, having previously worked with the director on the Chris Brown music videos “Crawl” (the next single off Graffiti) and “Forever,” as well as numerous television commercial projects. Ingenuity Engine’s ability to work in “short hand” with the director, along with the nimbleness and multi-disciplinary make-up of its team, enabled the studio to complete the music video with a team of 10 in just a week-and-a-half from start to finish.

The “I Can Transform Ya” music video opens as a jet-black sports car careens across the screen. It morphs into Chris Brown, armed with a can of spray paint and tagging the name of the title track on the wall. Set against an entirely all-white backdrop, the clip highlights Brown’s dance moves, which he performs alongside a ninja-outfitted crew.

Ingenuity Engine contributed numerous signature effects, including shape-shifting Brown and company into tanks, motorcycles and other fantasy toys, which the team modeled and animated by hand in Autodesk 3ds Max, building a particle system comprised of engine parts to fill the interiors of the various vehicles. Ingenuity Engine also custom developed a transition effect in which the performers morph into clusters of CGI ribbons, and contributed CG extensions to a robot-enhanced suit worn by a voluptuous biker babe.

“The music video production industry today requires a creative team to be agile because our turnaround times are shrinking down to mere days,” said David Lebensfeld, founder and lead artist, Ingenuity Engine. “But we’re still held to high creative standards to produce engaging content that can live across MTV, YouTube and mobile devices. Fortunately, because we do a large volume of visual effects work for commercials, we’re able to apply those production-proven workflows to our music video projects. We’ve also culled together a very well rounded team that aren’t just 3D artists, but equally skilled compositors, animators and motion graphics artists.”

Ingenuity Engine used a software package consisting of Autodesk 3ds Max for 3D modeling, Prime Focus Software’s Krakatoa for particle rendering, with all compositing done in Nuke. In its first hour of release, the “I Can Transform Ya” music video was downloaded over 500 times and went on to be viewed over 750,000 times. It premiered Oct. 27th on MTV Hits, MTV Jams, and MTV.com. Ingenuity Engine is currently completing VFX work on Chris Brown’s “Crawl” music video, which is also directed by Kahn and is slated to premiere on Nov. 13th.

Ingenuity Engine is an award-winning visual effects boutique based in Hollywood, Calif. With a reputation for nimbleness and creative experimentation, Ingenuity Engine provides VFX and creative post for music videos, commercials, television episodics and feature film projects. The company works with directors including Paul Hunter, Francis Lawrence, Wayne Isham, Joseph Kahn, Marc Webb and Matthew Rolston on music videos for Britney Spears, Lady Gaga, Eminem, Green Day, Chris Brown, Weezer, Kiss and Madonna, and has been nominated for two MTV Video Music Awards. The company’s commercial projects include spots for Asics, Mazda, Travelers Insurance, Sears, Georgia State Lottery and Coca Cola’s Oasis.

Production Credits:
Title: “I Can Transform Ya” music video
Artist: Chris Brown
Label: Jive Records

Director: Joseph Kahn
Production Company: HSI Productions
Producer: MaryAnn Tanedo

Editor: Joseph Kahn

Visual Effects Company: Ingenuity Engine / Hollywood, CA Visual Effects Supervisor: David Lebensfeld Visual Effects Executive Producer: Matthew Poliquin VFX coordinator: Michael Lebensfeld Lead CG: Grant Miller Lead Compositor: Nicholas Sorenson CG Artist: Kris Cabrera
Compositor: Daniel Raschko
CG Artist: Tom Wilson
Animator: AJ Gillespie
Junior Compositor: Travis Button
Junior Compositor: Kyle Andal
Junior Compositor: Gerard Andal

Related Links:
www.ievfx.com
www.josephkahn.com

Asylum Introduces Verizon’s Droid Smartphone

[NEWS=”http://www.cgnews.com/wp-content/uploads/verizon_boat_thumb.jpg”]22575[/NEWS]Asylum’s VFX team in collaboration with mcgarry bowen and MJZ’s Rupert Sanders recently completed work on a spectacular spot launching Verizon’s highly anticipated Droid smartphone. The: 60 features incredible CG environments that showcase Asylum’s incomparable expertise in creating realistic FX, this time embedded within a suspenseful and visually stunning narrative. Stealth begins with a squadron of stealth bombers thundering through a cloud-filled sky and launching a salvo of small pods toward earth, a beautiful scene rendered entirely in CGI. From the ground bewildered ranchers, lumberjacks, fishermen, and others watch the pods simmer through the sky, CGI smoke trails marking their path.

The mountaintops, prairies, and mid-ocean landscape that the observers watch from are stunning panoramas created in Maya, Terragen, Renderman, BodyPaint, and others, and then composited in Nuke using multiple floating-point, linear light passes.

The pods explode into the ground – an effect achieved with a combination of live action and Flame composite. The contraptions survive in one piece, however, and when the live-action pod spins open, a shimmering CGI backdrop outlines the glowing Droid phone, also done in CGI.

Asylum packaged all of this footage into a custom interface that controlled the comp process and guaranteed a consistent look from shot to shot. They created an additional custom UI tool in Nuke to create the lens flare and lighting effects that incorporate realistic camera motion, reflections, and light leaks. Previsualization was built as a combination of 3D animation and reference footage taken from multiple sources.

Asylum is a premier visual effects and design company, handling high-profile features, commercials, music videos, and emerging media content for web and mobile platforms. Asylum created the visual effects for such films as the upcoming Terminator Salvation, The Curious Case of Benjamin Button, Pirates Of The Caribbean ll & lll, Master And Commander: The Far Side Of The World (Academy Award and BAFTA nominated), Moulin Rouge, Minority Report, Phantom Of The Opera, Mel Gibson’s Apocalypto, Tony Scott’s déjà vu, Man on Fire & Domino and Ridley Scott’s Black Hawk Down.

Asylum has done spot work for brands such as Hershey’s, Nike, Sony Playstation, Coke, BMW, Gatorade and Apple. In addition, Asylum Design has created award winning title and graphic design work for such films as Tim Burton’s Charlie and the Chocolate Factory, Bedtime Stories, X-Men I & II, The Island, Bad Boys II and XXX.

CREDITS
Client: Verizon
Spots Title: Stealth
Air Date: November 2009

Agency: mcgarrybowen, New York
Executive Creative Director: Mark Koelfgen
Executive Creative Director: Warren Eakins
Copywriter: Tiffany Smith
Art Director: Michael Cannova
Head of Broadcast Production: Rosanne Horn

Production Company: MJZ, Los Angeles
Director: Rupert Sanders
Executive Producer: Eric Stern
Director of Photography: Alwin Kuchler
Line Producer: Laurie Boccaccio

Editorial Company: Spot Welders
Editor: Neil Smith

Post/Effects: Asylum
Visual Effects Supervisor: Robert Moggach
Executive Producer: Michael Pardee
Producer: Jason Cohon
Coordinator: Diana Cheng
CG Producer: Jeff Werner
CG Supervisor: Jens Zalzala
Compositing Lead: Miles Essmiller
Lead Modeler: Greg Stuhl

Music: Q Department
Sound Designer: Brian Emrich
Sound Design Company: Trinitite Studios

Mix: Lime
Mixer: Loren Silber

RELATED LINKS

www.asylumfx.com

Digital Domain’s Game Face for ‘Assassin’s Creed II’

[NEWS=”http://www.cgnews.com/wp-content/uploads/eyes_blackbeard_thumb.jpg”]22563[/NEWS]Digital Domain forces viewers to stare deep into the faces of the freshly deceased in “Eyes,” a television commercial for “Assassin’s Creed II,” the new third-person action-adventure video game from Ubisoft. Directed by Andrew Douglas of Anonymous Content via ad agency Cutwater, the spot demonstrates Digital Domain’s expertise in working with the contours of the human face.

But instead of creating a fully computer-generated version à la The Curious Case of Benjamin Button, Digital Domain applied digital production techniques to give the live-action actors a haunting, hyper-photorealistic quality.

In “Eyes,” a bell tolls as the spot opens on a close-up shot of a pair of very still and vacant eyes. The camera pulls out to reveal that they belong to the macabre face of a recently slain medieval soldier. Other crime scenes follow, showing the just-murdered faces of corrupt noblemen, criminals and other victims. The final face is that of a cloaked man, his skin dewy and his eyes moist. The Assassin Ezio, who is the main character in the game, blinks and turns, taking viewers seamlessly into Assassin’s Creed II game footage.

“Our goal was both to give Douglas’ shot footage a hyper-photorealistic treatment, but to also make the actors appear so believably dead, it really takes the viewer aback,” said Vernon Wilbert, visual effects supervisor, Digital Domain.

“We found this aesthetic by re-lighting and adjusting the live-action faces, treating them so they had a waxy, plastic and synthetic feel to them, while retaining the essence of the photography. From our experience creating digital human characters, we built an intimate knowledge of how light affects human skin. What’s interesting about this project is, we reversed it, using digital tools to relight the skin to take away the appearance of life.”

For an even more unsettling effect, Digital Domain meticulously extracted all movement from the actors such as twitches and blinking, while digitally adding in atmospheric movement like candlelight flickers, water ripples and flies buzzing about.

To achieve the closing shot of the actor playing Ezio as he seamlessly morphs from live-action into an in-game character, Wilbert and his team walked the director through a virtual set within the game, as Douglas evaluated lighting and scenery as if doing a virtual location scout.

“It’s interesting how the same issues that happen on a live-action set can also happen within the game engine,” added Wilbert. “The light in the video game would change, or we’d have to wait for the moon to come back into scene, or the shadows would shift. Andrew Douglas was a great collaborator, and was completely at ease directing action in the virtual world. This converging of the techniques and tools of moviemaking and gaming is something we’re going to be seeing a lot of in the future.”

Digital Domain is an Academy Award®-winning digital production studio with a reputation for innovation and artistry. The studio has created visual effects for 75+ movies that have collectively generated more than $12 billion in worldwide box-office sales, including most recently, The Curious Case of Benjamin Button for which it won the Academy Award for Visual Effects.

A creative giant in advertising, Digital Domain works with a stellar group of A-list directors including David Fincher, Mark Romanek, Joseph Kosinski, Carl Erik Rinsch and more. Industry recognition for Digital Domain’s advertising work includes many Clio, AICP, and Cannes Lion awards and other industry honors. The company is continually pushing into new territory and is being recognized for its pioneering work in photo-real digital humans and productions that bring the worlds of movies, games, advertising and the web closer together.

PRODUCTION CREDITS:

CLIENT: Ubisoft

PRODUCT: Assassin’s Creed II
“Eyes” :30 AIRDATE: 11/09/09
“Eyes Extended” ::60 AIR DATE: 11/09/09

ADVERTISING AGENCY: Cutwater SF
Chief Creative Officer: Chuck McBride
Director of Broadcast: Jennifer Golub
Interactive Creative Director: Fabio Costa
Art Director: Jay Lorenzini
Copywriter: Eric Boyd
Agency Producer: Bill Spangler
Account Manager: Jason Bedecarre

PRODUCTION COMPANY: Anonymous Content
Director: Andrew Douglas
Executive Producer: Dave Morrison
Head of Production: Sue Ellen Clair
Producer: Aris McGarry

ANIMATION & VISUAL EFFECTS: Digital Domain, Inc./Venice, CA
President of Commercials, Executive Producer: Ed Ulbrich
Executive Producer / Head of Production: Karen Anderson
Visual Effects Supervisor: Vernon Wilbert
Visual Effects Producer: Melanie La Rue
Coordinator: Nathan Bayne
Coordinator: William Lemmon
Integration: Scott Gsop Edelstein
Senior Flame Artist: Jeff Heusser
Senior Flame Artist: Brad Scott
Junior Flame Artist: Matthew J.D. Bramante
Roto Artist: Hilery Johnson Copeland
Roto Artist: Maura Alvarez

EDITORIAL HOUSE: Final Cut
Editor: Nathan Petty
Executive Producer: Saima Awan
Producer: Jennifer Miller
MUSIC / SOUND HOUSE DESIGN: Elias Arts
Creative Director/Composer: Jonathan Elias
Creative Director: Dave Gold
Composers: Kimo Kemp, Dave Wittman
Producer: Kala Sherman

AUDIO POST/MIX HOUSE: One Union Studios
Mixer: Eben Carr
Producer: Lauren Mask

RELATED LINKS:
www.digitaldomain.com

Rhino ‘Crashes’ Fall Lineup With Spot Promoting Starz Series

[NEWS=”http://www.cgnews.com/wp-content/uploads/crash_title_thumb.jpg”]22532[/NEWS]Rhino Creative Director Vico Sharabani recently completed yet another close collaboration with the Snorri Bros., this time creating all the VFX for a carefully choreographed :30 promoting the new season of Starz’ acclaimed series, Crash. The unique spot captures Los Angeles through the lens of a camera continuously swinging across the cityscape, the masses jostling in slow motion before a backdrop of palm trees, mountains, construction cranes, and other iconic Southern California images.

The cast – including legendary actor Dennis Hopper – is shown mingling amidst this hoard in the hustling, deal-making, wild streets of Tinseltown. The spot concludes with the convergence of the main characters at center screen, where they appear poised to “crash” into one another, symbolizing the complex, intermingled maze that the characters live in.

To create a full portrait of the unhinged L.A. lifestyle that Crash portrays, Sharabani and the rest of the Rhino crew expertly stitched together a mosaic of characters that the Snorri Bros. shot on long lens against a green screen. Rhino deftly arranged these moving pieces so that the show’s stars mingle effortlessly with LA’s background masses while their individual stories move inexorably toward intersection.

Rhino then combined stills and live-action shots from all over the city to create an enormous, 100,000-pixel-long panorama of Los Angeles, against which they transposed the various characters in motion. The result is a seamless, detail-rich, 360-degree shot that seems to swivel over all of LA and the entirety of its shuffling life in one effortless motion. The crew also amped up the lighting to create an overly bright glare that perfectly communicates the atmosphere of walking through the steaming hot L.A. concrete jungle.

“The trick here was to capture the constant behind-the-scenes and in-the-streets action of Hollywood while simultaneously showing the countless fascinating stories behind that lifestyle, which is really the story of Crash,” said Sharabani. “So we had to balance the fast-paced camera movement with the intersection of the fascinating cast and the indescribable L.A. masses. All of this while capturing the exact mood of L.A., from the steaming weather to the every-man-for-himself realities of the entertainment industry. Luckily the Snorri Bros. are expert at exactly capturing the attitude and personality of each character through their motions alone.”

“We’ve worked with the Snorri Bros. on spots for Mercedes, Toyota, Subway and Dell over the past two years so we’re very familiar with one another,” said Rhino MD Rick Wagonheim. “We’re incredibly happy to have this successful ongoing collaboration with a team that’s so imaginative, diligent, and easy to work with.”

About Starz:
Starz Entertainment, LLC, is a premium movie service provider operating in the United States. It offers 16 movie channels including the flagship Starz® and Encore® brands with approximately 17.5 million and 31.5 million subscribers respectively. Starz Entertainment airs more than 1,000 movies per month across its pay TV channels and offers advanced services including Starz HD, Encore HD, Starz On Demand, Encore On Demand, MoviePlex On Demand, Starz HD On Demand, Encore HD On Demand, MoviePlex HD On Demand, and Starz Play.

About Rhino:
Since its launch in 2000, Rhino has created award-winning visual effects, design, and animation for commercials, VFX for feature films, episodic television, webisodic mini-series, and videogame cinematics. The company’s principals and artists have also led the industry’s exploration into the boundless potential of branded digital content. By cultivating extensive relationships with key brands, advertising agencies, and film/TV studios, Rhino utilizes its creative directors and artists to develop and execute powerful branded entertainment to build both identity and awareness. The company’s principals include: CD/Director Vico Sharabani, CD/Director Harry Dorrington, CD/Director Natasha Saenko, COO/EP Camille Geier, Managing Director Rick Wagonheim, and CEO North America Zviah Eldar.

CREDITS
Spot: Starz Network Crash Promo
Airdate: October 2009

Agency: Kirshenbaum Bond Senecal + Partners
CD(s): Jon Goldberg, Chris Cereda
Account Director: Rachel Mahoney
Group Business Director: Cora Byrne
Account Executive: Amy Olsen
Producer: Sharon Harte
AP: Ali Wasserstein

Prod Company: The Cartel
Director: Snorri Bros
Director: Eidur Eysteinsson
Executive Producer: Faith Dektor
Executive Producer: Jeff Miller
Producer: Dave Bernstein

Post/Effects: Rhino
CD: Vico Sharabani
VFX Supervisor: Elad Offer
Producer: Linda Gallagher
COO/EP: Camille Geier
Managing Director: Rick Wagonheim
CEO: Zviah Eldar

RELATED LINKS
www.rhino-gravity.com
www.starz.com

Shilo Create Brand Film for Under Armour’s ColdGear

[NEWS=”http://www.cgnews.com/wp-content/uploads/uacg-green_thumb.jpg”]22474[/NEWS]The filmmakers from creative production company Shilo are very proud to reveal their latest brand film for Under Armour, Inc., the originator of performance apparel, footwear and accessories. The latest collaborative effort from the two companies recently debuted in high-profile broadcast, cable and online media outlets, presenting yet another extrasensory cinematic feast. Featuring two-time World Cup champion Lindsey Vonn, one of the most successful American ski racers in history, and promoting Under Armour’s flagship ColdGear line, the :30 spot is entitled “ColdGear, Lindsey Vonn + Dick’s.”

“From our earliest conversations with Under Armour’s Creative Director Brian Boring,” began Tracy Chandler, Shilo’s executive producer, “they picked up on our passion for dramatic storytelling, and connected that with the intensity that’s so integral to the brand personality of Under Armour.”

The project’s creative brief began with the goal of promoting the ColdGear product line, which is known for helping athletes perform optimally in cold conditions, while featuring Vonn, an international symbol for strength and extraordinary athletic performance. Seeking the best creative solution for this project, Shilo enlisted the talents of its growing creative arm, We Make It Good, and its creative director, Clayton Vomero, who co-wrote the spot’s script with Stringer.

In their story, Stringer and Vomero built a narrative around a Cold Abuse Simulator, where Vonn tests ColdGear under the world’s harshest conditions. “Ultimately our goal in our Cold Abuse Simulator films is to transport the viewer deeply into the unique experience of the athlete,” explained Shilo’s co-founder and creative director Andre Stringer.

To film the action of Vonn facing the Cold Abuse Simulator as realistically as possible, Shilo’s crew found an authentic factory location in Los Angeles and worked with Vonn for two days, filming her on a jostling rig before a giant apparatus that simulated, to the greatest extent possible, the actual conditions she’d face in racing down a steep ski mountain during a blizzard.

Stringer, Shilo’s associate creative director Noah Conopask, director of photography Martin Ahlgren and their crew went to great lengths to capture Vonn’s performance and their desired atmospheric reality on the set. From there, additional details were added back in Shilo’s studio to heighten the story’s visual drama using seamless visual effects artistry.

As a finishing touch, Shilo’s team also sought to evolve the sonic aspects of this project’s storytelling with original music and sound design, courtesy of Gavin Little of echolab. “We wanted it to be in the same family of other campaigns,” Conopask added, “but always evolving, so that each spot stands on the shoulders of the previous ones in terms of its depth and complexity.”

“We’re especially proud of this project, in that it gave us some amazing opportunities to explore and build upon our relationship with Under Armour as a brand,” concluded Stringer.

About Shilo
Shilo is an Emmy Award-winning creative production company representing a group of filmmakers led by directors Jose Gomez and Andre Stringer. Internationally known for creating original and commissioned work that is powerful, provocative and visually extraordinary, Shilo’s deeply held passions for design-infused storytelling and their innovative applications of live-action, design, and animation techniques deliver breakthrough experiences for screens large and small.

From its studios in New York and La Jolla, California, where recent projects have spanned short films, commercials and music videos, Shilo has the capacity and experience to originate ideas and handle all aspects of production. Shilo published its first book, We Make It Good, in 2007, and also curates the site www.WeMakeItGood.com.

About Under Armour, Inc.
Under Armour(R) (NYSE: UA) is a leading developer, marketer, and distributor of branded performance apparel, footwear, and accessories. The brand’s moisture-wicking synthetic fabrications are engineered in many different designs and styles for wear in nearly every climate to provide a performance alternative to traditional natural fiber products.

The Company’s products are sold worldwide and worn by athletes at all levels, from youth to professional, on playing fields around the globe. The Under Armour global headquarters is in Baltimore, Maryland, with European headquarters in Amsterdam’s Olympic Stadium, and additional offices in Denver, Hong Kong, Toronto, and Guangzhou, China.


CREDITS

Project Title: Under Armour “ColdGear, Lindsey Vonn + Dick’s”
Length: :30
Debut Date: Nov. 6, 2009
Film Location: Filmed on location in Los Angeles.

Client: Under Armour
Senior VP Brand: Steve Battista
Creative Director: Brian Boring
Strategic Marketing Manager: Emily Johnson
Art Director, Interactive: Nathan Shriver

Ideation: We Make It Good
Writers: Andre Stringer, Clayton Vomero

Director: Shilo
Production Company: Shilo
Creative Director: Andre Stringer
Associate Creative Director: Noah Conopask
Lead Artist and CG Supervisor: Tamir Sapir
Director of Photography: Martin Ahlgren
Compositing: Joel Voelker, Miguel Bautista, Tamir Sapir
3D Animation: Erik Lee
3D Lighting and VFX TD: Warren Heimall, Joji Tsuruga, Tamir Sapir
3D Modeling: Youngmin Kim, Jiyoung Yoo
3D Texturing: Jiyoung Yoo, Billy Jang
3D Tracking: Eric Epstein
Storyboard Artist: Fred Fassberger
Matte Painting: Rodeo FX, Helen Kim
Roto Artists: Jihyae Ham, Carlos Rosario, Helen Kim
Editor: Nate Caswell
Assistant Editor: Hedia Maron
Producer: Mariya Shikher
Line Producer: Chris Palladino
Head of Production: Julie Shevach
Executive Producer: Tracy Chandler

Music Company: Echolab
Composer, Sound Designer: Gavin Little

VO Recording and Mix Company: SoundLounge
VO Recording and Final Mix: Peter Buccellato

VO Talent: Debra Bond, Mark Jones

RELATED LINKS
www.shilo.tv
www.underarmour.com

Imagi’s Astro Boy Leaps With Autodesk Maya

[NEWS=”http://www.cgnews.com/wp-content/uploads/astro_boy_thumb.jpg”]22443[/NEWS]The newly released animated film “Astro Boy” brings the iconic Japanese manga character to movie theaters. Filmmaker Imagi International Holdings Limited (HKEx: 585) created “Astro Boy” with Autodesk Maya software from Autodesk, Inc. (NASDAQ: ADSK). Maya was at the core of Imagi Studios’ around-the-clock production pipeline spanning Hong Kong and Hollywood.

Osamu Tezuka first created the manga series about Astro Boy, a permanently youthful robot boy, in the 1950s. Quickly gaining popularity, it was developed into a black-and-white televised cartoon in 1963-the first Japanese TV series with an aesthetic that later became known worldwide as anime. On October 23, 2009, “Astro Boy” made its cinematic debut as a fully animated feature film.

Imagi Studios invested US$65 million to create “Astro Boy.” The company’s production pipeline included concept and character development, script writing and preliminary design work by its Los Angeles team; and a Hong Kong team of more than 400 artists focused on modeling, texturing, animation, lighting, rendering and compositing.

Francis Kao, founder and creative director of Imagi Studios, said, “We chose Autodesk Maya as our animation platform for ‘Astro Boy’ because of its openness, creative tools, and large pool of trained artists. We relied on the software’s powerful feature set, and our programmers also developed custom plug-ins for Maya, enabling us to efficiently create high-quality animation.”

Imagi Studios’ principal business is the development and production of computer-generated films. Released in 2007, the company’s animated film “Teenage Mutant Ninja Turtles” was also made with Maya. The film opened in top position at the U.S. box office- a first for an animated film created in Asia.

“For ‘Astro Boy’ foliage simulation we used the Maya software’s paint effects together with our in-house plug-in,” said Johnny Mak, head of technical operations at Imagi Studios. “Having relied on Maya for many years, we’ve seen great advancements in the software’s capabilities. It
continually helps us deliver world-class animation.”

About Imagi International Holdings Limited Imagi International Holdings Limited is a listed company on the main board of the Hong Kong Stock Exchange. Imagi Studios’ principal business is the development and production of computer-generated (CG) animated theatrical feature films. Imagi’s CG production studios are located at its Chai Wan (Hong Kong) corporate headquarters with development and marketing operations based in Los Angeles, California, and an office in Tokyo.

Imagi Studios produces major CG-animated theatrical feature films by combining Hollywood storytelling with Hong Kong high-tech animation. This fusion of Western and Asian creativity delivers premium entertainment that appeals to audiences around the world. Imagi’s first animated movie, “Teenage Mutant Ninja Turtles,” was released in March 2007, topping the U.S. weekend box office during its debut.

About Autodesk
Autodesk, Inc., is a world leader in 2D and 3D design, engineering and entertainment software for the manufacturing, building and construction, and media and entertainment markets. Since its introduction of AutoCAD software in 1982, Autodesk continues to develop the broadest portfolio of state-of-the-art software to help customers experience their ideas digitally before they are built. Fortune 100 companies Ø as well as the last 14 Academy Award winners for Best Visual Effects Ø use Autodesk software tools to design, visualize and simulate their ideas to save time and money, enhance quality and foster innovation for competitive advantage.
For additional information about Autodesk, visit www.autodesk.com.

Autodesk, AutoCAD and Maya are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and/or other countries. Academy Award is a registered trademark of the Academy of Motion Picture Arts and Sciences. All other brand names, product names or trademarks belong to their respective holders. Autodesk reserves the right to alter product offerings and specifications at any time without notice, and is not responsible for typographical or graphical errors that may appear in this document.

www.autodesk.com

Walgreens Turns A Blind Eye On Higher Prices

[NEWS=”http://www.cgnews.com/wp-content/uploads/walgreens_tide_thumb.jpg”]22422[/NEWS]Bicoastal design studio Blind, in collaboration with Downtown Partners Chicago, creates a memorable branding campaign that takes us on dazzling CG journey into the world of low prices for Walgreens. Designed and directed by Blind’s Vanessa Marzaroli, House is the first in a series of three :30s which celebrate the launch of Walgreens’ new “Affordable Essentials.” Focusing primarily on the products Americans use most often, we observe a stunning array of brand name products swirling to life across a lush, brilliantly designed landscape.

Blind, a multi-disciplinary design, motion graphics, animation, visual effects, live-action, editorial, print and broadcast design studio with offices in Santa Monica and NYC, taps into diverse intellectual and creative resources to come up with compelling results.

Since 1995, Blind has been pushing beyond the expected, offering clients a new way to see with award-winning design. A few things remain constant amidst this design/production powerhouse’s constant drive to reinvent itself: the abilities to engender surprise and produce projects from conception to reality.

Blind’s creative team has built an uncommon level of respect in the advertising and entertainment communities via cutting-edge campaigns for brands such as Xbox, Showtime, Bright House Networks, DirecTV, OppenheimerFunds, McDonald’s, Scion, and recording artists including Gnarls Barkley, The Raveonettes and Justin Timberlake to name a few.

CREDITS
Client: Walgreens
Spots Title: House
Air Date: October 2009

Agency: Downtown Partners Chicago
Creative(s): Joe Stuart, Amy Ditchman
Producer: Will Meyers

Prod Company: Blind
Director: Vanessa Marzaroli
EP: David Kleinman
Producer (s): Keith Bryant, Amy Knerl, Dana Vaden
Art Director: Matthew Encina
Designer(s): Will Goodan, Chris Saunders, Satomi Nagata, Vanessa Marzaroli
2D Animator(s): Matthew Encina, Jiaran Hui, Yan Ng, Mitchell Anderson
3D Animator(s): Matthew Encina, Jiaran Hui, Chris O’neil, Yan Ng
Keying/Retouching: Satomi Nagata
Storyboard Artist: Vincent Lucido

www.blind.com

Click 3X Wins Big With Dominos

[NEWS=”http://www.cgnews.com/wp-content/uploads/dominos_symbol_thumb.jpg”]22382[/NEWS]In a flurry of snow, fog, and shattering ice sculptures, Haunt infuses Big Pink’s latest video, Dominos, with an unforgettable visual mix that perfectly complements the up-and-coming group’s lyrics, look, and sound. The video, a sequence of close-up and medium-distance shots of various speed and focus, show the band rocking onstage as the Haunt-generated chaos rains down around them, the various explosions and debris enhancing the message of sadistic glee that bleeds through the song. Click 3X worked closely with production company Partizan and handled all the VFX and Flame work for the project.

VFX Supervisor Mark Szumski notes, “My role in this project was to enhance what was shot and blend two different cameras together. The video was shot on RED and on Phantom. In Flame, we created a basic look of the video with the intent of doing a DI process later. Getting the Phantom and Red camera shots to blend seamlessly was a challenge. For other scenes, I spent a lot of time adding, anamorphic flares, camera shakes, swirling fog and additional 3D particle FX into the scenes.”

New York-based Click 3X produces cutting-edge visual solutions for commercials, feature films, television, music videos, and broadcast clients around the globe. Founded in 1993, Click 3X has become one of the preeminent providers of innovative media content, housed in an environment led by artists, yet supported by one of the most technologically advanced digital studios in the industry.

With award-winning design, powerful visual effects, and a visionary animation team, Click 3X has worked on array of diverse highly-recognizable projects, including a series of films from academy-award winning directors like Jonathan Demme and Davis Guggenheim, a recent multimedia package for eight HD Time Warner spots, My Home 2.0, a five episode reality TV series for Verizon Fios, and a long line of recent commercials for major brands such as Sharp, Ford, and Goodyear.

In addition to Click 3X’s commercial and film expertise, their interactive design studio, ClickFire Media, specializes in multi-platform, media-rich interactive campaigns. CFM partners with agencies and entertainment industry clients in the conceptualization, design, and development of immersive branded experiences.

Through insight and innovation, CFM combines the latest interactive technologies with the best design, video, animation, and live action skills from Click 3X to deliver integrated solutions in the ever-developing media landscape. Haunt is a division that specializes in cutting-edge motion design for music videos, virals, and installations, and has worked with many of the industry’s top music talent and directors. Click 3X Entertainment focuses on broadcast branding and design, rounding out the company’s expertise for every screen.

CREDITS
Artist: Big Pink
Song Title: Dominos
Air Date: August 2009

Production Co: Partizan
Director: Timothy Saccenti
DP: Ivan Abel
Producer: Brian Graf
Production Designer: Jeff Shepherd

Editorial: Digital Kitchen
Editor: Ryan McKenna

Post/Effects: Haunt@Click 3X
Visual Effects Supervisors: Sarah Cargiulo, Mark Szumski
Flame artist: Mark Szumski

Telecine: The Mill
Colorist: Damien Van Der Cruyssen

RELATED LINKS
www.click3x.com