Nathan Love: “NBC Peacock”

Nathan Love is up to its old tricks, yet again, in NBC Peacock. In collaboration with NBC Artworks, the studio has created an animated station ID that playfully adheres to the NBC brand while showcasing their mastery of character driven animation.

In exploring the origins of the famous NBC logo, Nathan pays homage to the famous peacock logo that has driven the stations branding for over 50 years. Heavily inspired by the 1993  NBC station ID’s created by John Kricfalusi of now defunct animation production studio, Spumco, Joe Burrascano, Nathan Love’s owner and creative director, elaborates:

“The brief was to create a stand-alone logo animation for NBC. The only guidelines were to make it our own, and of course, for it to be ‘the best logo ever.’”

Originally designed to promote NBC programming that was broadcast in color, Nathan has revisited the original mark and retrofitted it for today—bringing slapstick humor and personality to an iconic logo—while at the same time, making it their own.

For exclusive behind-the-scenes artwork on Nathan Love’s, NBC Peacock, see here.

For a multi-page, illustrated article on the history of the NBC peacock, see here.

Posted on Motionographer

1stAveMachine / Aaron Duffy: Google Chrome Features

Using the same camera perspective trick employed by weareom for their “Chop Cup” viral (or sidewalk artist Julian Beever or Salvador Dalí or countless others, I’m sure), Google worked with 1stAveMachine’s Aaron Duffy to craft a series of elaborate analogue vignettes to tout the features of its Chrome browser.

Some of the ideas work better than others, with the obvious crowd-pleaser being the Speed demo. The subtext for all the vignettes is a celebration of DIY ingenuity, of making something seemingly simple through the complex combination of unlikely components. In many cases, the machines are human-powered, with hand-turned cranks and puppeted objects supplying the “animation.”

Mostly, though, the message is one we don’t often hear among the nerdified banter of browser battles: Surfing the net should be fun. It should be unexpected, but not because your browser crashes or because you contract a nasty virus.

Big ups to Fred Kim for the tip (via Gizmodo)

1stAveMachine – Production Company
Aaron Duffy – Director
Sam Penfield – EP
Jennifer Brogle Jones – Producer
Claire Mitchell – Head of Creative Development
Jennifer Stratton – Production Coordinator

Bob Partington – Art Director, Fabrication
Nathan Asquith – Fabrication
Peter Erickson – Fabrication
Carlos Ancalmo – Storyboards & Design
Mario Romeo – Assistant Director
Vi Nguyen – Technical Director
Daniel Roman – Compositor
George Vincent – Compositor
Jason Tsang – Compositor
John Laughlin – Compositor
Kathleen Tobin – Compositor
Lily Feng – Compositor
Ryan Hooks – Compositor
Sohee Sohn – Compositor
Ralph Scaglione – 3D Tracking
Val Gnaedig – Costume
Patrick Scola – Documentation
Emery Wells – Colorist

Agency: BBH New York
Calle Sjoenell, Pelle Sjonell – ECD
Aaron Royer – Agency Producer
Steve Peck – Art Director
Jared Elms – Copywriter

Posted on Motionographer

Nokia N900: “Focus Group”

Channeling the same rebel spirit as the recent Verizon adverts for the Motorola Droid, this viral for the Nokia N900 injects the nucleus of a narrative into what could be a fun campaign.

The turn to grittier aesthetics makes sense. Attempts to unseat the incumbent iPhone using the same glossy look as Apple only confuses customers; the trick is to differentiate the brands somehow. Trouble is, Nokia and Motorola have struck the same chord at more or less the same time.

The recently posted Droid “Stealth” spot directed by Rupert Sanders aims at creating the same sense of epic mystery as the Nokia N900 campaign, albeit with a much slicker production value. It’s the J.J. Abrams school of advertising, with phones instead of “mystery boxes.”

Who will win? At this point, it’s hard to say: but it seems that they’ll still be fighting for second place.

“Focus group” was directed by Jack Masters and conceived by agency Jack Morton. The Mill’s Bif (Fabrice Le Nezet, Jules Janaud and Francois Roisin) helmed the post-production efforts.

Thanks to Harm for the tip.

Posted on Motionographer

Mafia S.P.A.

Mafia S.P.A. è un video nato da un progetto di Torino Sistema Solare e Libera, associazione che si batte contro la mafia. Statistiche raccolte da Libera (rete nazionale anti-mafia) informano che con un fatturato di 130 miliardi di euro l’anno Mafia S.p.a. è l’unica “azienda italiana” che non paga la crisi e che il 50% dei suoi utili provengono esclusivamente dal traffico di cocaina e altre droghe. Un mercato in continua espansione oggi maggiormente redditizio rispetto alle voci più tradizionali: tangenti, appalti, usura, racket, mercato di armi, rifiuti tossici, ecc…
Il video “Mafia S.p.a.” è solo l’ultima azione di una comunicazione virale autofinanziata portata avanti da una parte del mondo notturno insieme ad associazioni studentesche, menti creative, dj, musicisti e organizzatori di locali che si riconoscono nella sigla Torino Sistema Solare. Una presa di posizione compatta contro un fenomeno dilagante – solo nell’ultimo anno la cocaina ha quadruplicato il proprio volume d’affari – che presenta sempre più i connotati di un’emergenza sociale.

Musica: Postal_m@arket
Regia: Luca Lumaca
Animation, Graphics: Kalimera
Produzione :

Articolo redatto da Stefano Paron

Some LEDs and the Duality of In-Camera Effects

Two LED spots have been dropped off the back of another. The first one, for Samsung, from The Viral Factory (director James Rouse) in London can be seen below:

We grabbed this one a few weeks ago. Since then, it has racked up a decent 4.7 million hits on Youtube. For those who may have missed it, it follows approximately 300 sheep covered in LED lights, a cast of local shepherds and their sheepdogs. The film features sheep being herded into a series of ever more improbable shapes. “The Viral Factory will not be drawn on what was real and what has been achieved in post, but a YouTube debate is predicted.”

This next, more recent, Honda spot is brought to you by W+K Amsterdam and Erik Van Wyk of Bouffant in Capetown. In this spot, the headlights of Hondas become the matrix in which to create simple animations. Most importantly, this was all captured in-camera.

Aside from the creative merits of the Honda ‘Lights’ spot, I’d like to shift the focus to the accompanying making-of video. Unlike the purely viral-format of the Samsung spot, W+K extracted their viral from the TVC shoot. Not only do they get a ‘free’ spot from it all, but they humanize the brand and introduce people to the innovation that goes on under the hood of it’s spots. By keeping it all in-camera, a BTS becomes something interesting enough to watch. Ramp up the scale of the actual shoot and you can do the same to the ‘wow’ factor.

The increase in creating supplemental BTS films seems to have hit a spike during the massive success of the Bravia Color Campaign. The BTS for the ‘Balls’ spot from Fallon/Juan Cabral and Fugslig is one of the more memorable. In preparation for the roll out of ‘Paint,’ Sony’s micro-site hosted a BTS with a countdown to the commercial’s premiere. And who could forget ‘Bunnies‘ and the making-of?

The price of a potential viral hype machine and a chance to show off your in-camera craftiness may not be more than a hand-held second unit. As ad dollars drop, web-content distribution grows and consumers become more savvy (and critical) of advertising, this practice seems like a multi-pronged solution to a few of the ad worlds evolving needs.

Posted on Motionographer