July 10, 2018

Trailer: 'Funan' by Denis Do

This movie is inspired by Denis's mother personal story, that takes place during the Khmer Rouge era in Cambodia.



July 09, 2018

Kali Mata



Bengal, 19th century. At the edges of the Kali temple, the British India's army led by the implacable W.H.Sleeman is about to wash against the last representants of the ancient stranglers assassin's brotherhood, the Thugs.

Writing, Storyboard, Animation: Pierre Le Couviour
Art Direction, Character Design, Animation: Kévin Roualland
Color Direction, Color Background, Compositing: Amine El Ouarti
Background Design, Layout, Compositing: Privat Fontaine

Music: Clément Peres
Audio Mix: Olivier Michelot

July 08, 2018

Music to listen to while animating















Work to this music, relaxing, helps to focus on that BG your painting or that shot you're animating.

July 03, 2018

Leningrad ft. Gluk'oZa (ft. ST) Ju-Ju



Made by Glukoza Animation and HONK FU
Directed by Ilya Naishuller
Produced by Alexander Chistyakov
Executive producer – Sergey Lubinetsky
Production supervisor – Julia Khan
Animation Director – Denis Pisarev
Character Design – Anna Cattish
Lead Animator – Ilya Shekiladze
Concept Art – Ivan Pozdnyakov
Compositing – Pavel Mira

June 30, 2018

Sigrid - Focus



Produced, Directed and Designed by Moth Studio
2D Animation: Bianca Beneduci Assad, Mattias Breitholtz, Russell Etheridge, Alex Grigg, Mick O’Sullivan, Stephen Vuillemin and Moth Studio
3D Animation: Russell Etheridge, Jason Pamment and Moth Studio
Compositing: Daniele Baiardini and Moth Studio

Client: Island Records
Producer: Charlie Drinkwater
Video Commissioner: David Knight
Marketing Manager: Charlotte Birch
Publicist: Elspeth Merry
Island Records and Sigrid approached us with the idea of creating a music video that dealt with heartache in an unconventional way. To contrast the sweet and sensitive nature of the song, we came up with the concept of a bold, frantic yet tender landscape, that would allow us to explore the experience of heartbreak through a series of bodily reactions.

In this landscape, memories inhabit organs like the heart, brain, gut and eyes. Over the course of the animation, we see the organs struggle with these memories, twisting, turning, compressing and fracturing to expel them from the body. However, by rejecting all these experiences, good and bad, the body is damaged.

At the climax of the track, a decision is made to reinterpret these memories and absorb them back into the body, colour and life flow back into the organs, turning heartbreak into an experience of growth rather than defeat.

Starting with a range of colours now associated with Sigrid’s bright and bold aesthetic, we created different ‘worlds’ for each organ employing various animation techniques and software to give that part of the body its own look and feel.

June 20, 2018

Leningrad ft. Gluk'oZa (ft. ST) Ju-Ju



Made by Glukoza Animation and HONK FU
Directed by Ilya Naishuller
Produced by Alexander Chistyakov
Executive producer – Sergey Lubinetsky
Production supervisor – Julia Khan
Animation Director – Denis Pisarev
Character Design – Anna Cattish
Lead Animator – Ilya Shekiladze
Concept Art – Ivan Pozdnyakov
Compositing – Pavel Mira

June 19, 2018

Love Nest

A Short Film by Remus Buznea et Kiki Kyriakou >> a loving tribute to the stinky rinky-dink room in which they wasted the vast majority of their student life.

May 28, 2018

Darrel




I was able to get a short interview with the creators...

What inspired you to come up with this story? Any of these moments reflect any personal experiences you might have had?

We had no idea what it was going to be at the beginning. The first approximate idea we had, came from a paper art concept of a friend of ours. We built a social critique with touches of humor, but it was very complicated, so we tried very simple jokes without history or progression. Finally we opted for the final version, a story of seduction with increasingly serious hiccups of the protagonist.
Maybe the fact that Marc and I were going through a serious crisis of love has something to do with the theme.


It's an interesting location at a subway station, how did you decide upon this?

The station where it takes place is very inspired by our metro stop to the coworking where we made the short film, besides it was a controlled environment, perfect to maintain quality with the available resources.


How long did the production take from story concept to final?

We practically spent a year trying different ideas through 2D animations and layouts, although it is difficult to measure it accurately because we made the models of the environment and the protagonist meanwhile.


Was the twist ending something you had thought of from the beginning? Or was it something you gradually arrived to during the storyboarding and development process?

The end came progressively, since we wanted a romantic ending at the beginning, but we realized that the final result was decaffeinated in all the versions we tried so we opted for this more surprising version.


Which animation school did you attend?

Pepeschool Land, the same school that gave us the infrastructure to develop the short and bring it to fruition, thanks to the teachers and students who helped us a lot along the way.


Do you have something in mind for your next short film? When are we expected to see it?

The desire is there, but right now it is complicated by the economic and social difficulties involved. We are convinced that we will do more personal projects in the future, but we do not know when exactly. It would not be the first time that Marc and I talked about a second part of Darrel or making a Darrel series.

May 23, 2018

A Family Dinner | True Stories!

Comic Artist secretly records her family having dinner and creates an animated scene from the audio.







May 20, 2018

In 1992, Bill Plympton made history by drawing an entire film on his own

These days, independent creators have plenty of unlikely side roads to mainstream success. Like animator James Curran, who created his own animated opening-credits sequence for Steven Spielberg’s The Adventures Of Tintin, released it to the web, watched it go viral, and ended up with a job offer from Spielberg himself. Or E.L. James, who wrote a series of erotic Twilight fan-fiction pieces, then turned them into novels and self-published them as the 50 Shades Of Grey series, which sold so well as e-books that the brick-and-mortar publishing houses came sniffing around and put them into print.

But back in 1992, there were fewer opportunities for a wholly independent creator to get national attention. That never stopped DIY animation pioneer Bill Plympton, who in 1992 released The Tune, the first feature animated film with every image hand-drawn by a single artist. Like today’s Kickstarter-funded, YouTube-promoted, grassroots-supported indie creators, he financed and marketed the film on his own: He created and sold merchandise, chalked ads for his movie on East Village buildings, and pre-released completed segments to MTV as independent shorts that played on Liquid Television. But he did all this before there was a supportive network for efforts like his, largely by building a fan base, one bizarre animated short at a time.


Cheatin' - Animation Production Blog

Throughout the ’80s and ’90s, animation buffs knew Plympton largely as the guy whose sketchy, twitchy colored-pencil cartoons were almost invariably the best things about the shorts festivals that periodically toured theaters, like Spike & Mike’s Festival Of Animation, or the International Tournée Of Animation. Pieces like “25 Ways To Quit Smoking,” “How To Kiss,” “One Of Those Days,” “Push Comes To Shove,” and the Oscar-nominated “Your Face” were notable for their distinctive, instantly recognizable visual style, and for being consistently surprising and absurdist. Plympton strongly believed that animation was infinitely flexible, and that realism in cartoons was a waste of the medium’s potential. In a 2000 The A.V. Club interview, he put it this way: “I think it’s part of the responsibility of an artist to shock, to upset, to make people think differently, and to surprise people. And that’s where the good humor is, if there’s a surprise and there’s something unexpected. Something that’s not normal, not in the realm of general living expectations.”


Drunker Than a Skunk - Trailer

His shorts followed suit: Each one was an exercise in stretching, melting, distorting, and transforming the characters’ faces or bodies. Sometimes the effect was disturbing, as in 1990’s “Tango Schmango,” which rotoscopes two dancers, with the male partner sometimes telling terrible jokes, and the female partner laughing hysterically, with her lips peeling back to expose giant stretching teeth and immense gums. More often, though, Plympton’s work was just meant to startle people into laughter with unlikely, abrupt transformations and turnarounds.



Bill Plympton Animation Reel.
As Plympton puts it on the commentary track for The Tune, he got the idea of creating his own full-length movie in the ’80s when he was assembling his shorts for a retrospective collection, and he realized he’d produced more than an hour of animation on his own in just four years. It was the equivalent of a movie, he realized, which implied that in another three or four years of animating, he could actually create an entire film of his own. So he enlisted the help of composer Maureen McElheron and New Yorker cartoonist P.C. Vey to help him write a script, and then he spent the next several years drawing and coloring each image himself. The 69-minute film isn’t entirely a one-man art-studio gig: He hired artists to fill in the backgrounds, and had a camera operator, a sound crew, musicians for the soundtrack, and performers for the voices. But he drew and colored every single image himself. (In a DVD featurette about Plympton, Simpsons creator Matt Groening says with a straight face, “See, what Bill hasn’t learned that I’ve learned is, I’ve learned how to con a whole bunch of people into doing the animation.”)


Cheatin' - Character Design Production Blog

Given that limitation, it’s no surprise that The Tune is visually simple, with minimal backgrounds and sketchy drawings. But Plympton’s signature has always been deceptive simplicity, at least until the faces start melting. The film follows a hapless every-schmoe named Del (voiced by Daniel Neiden) who’s trying to write a hit song to sell to his corporate overlord Mr. Mega (Marty Nelson), in hopes of becoming enough of a success that he can afford to marry his sweetheart Didi (McElheron). Rushing to Mr. Mega’s office with his latest half-completed song, he gets lost and winds up in a mythic place called Flooby Nooby, where songs just spontaneously happen. The Mayor (Nelson again) explains that Del is trying too hard as a composer, and just needs to learn to feel the music. So they wander around Flooby Nooby, listening to the denizens sing in a variety of styles: surf music, Delta blues, an Elvis pastiche, and so forth. Eventually, Del gets into it, starts generating his own songs, and tries to make his way home.

The musical format let Plympton assemble the film over the course of years largely as a series of self-contained music videos. He was able to release segments along the way as shorts: The Elvis-esque number, “Dig My Do,” featuring a dog bragging about his high-flying hairstyle, came out as a standalone piece in 1990, while the non-musical segments “The Wiseman” and “Push Comes To Shove” hit MTV in 1991. Other musical sections were never released separately, but they can comfortably stand alone, like the deeply strange “No Nose Blues,” in which a disturbingly caricatured (and noseless) black man has a passionate affair with a gigantic nose, then sees it all over town on a variety of other faces, and realizes it’s been cheating on him. Also particularly memorable: “The Lovesick Hotel,” an upbeat number about a hotel full of themed rooms featuring creative suicide methods for heartbroken people, from carnivorous plants and couches to beds with built-in rotary saws.

But some of the best and strangest parts of The Tune aren’t musical numbers or stand-alone pieces; they’re random snippets of story. In particular, there’s the surreal sequence where Del notices that in Flooby Nooby, objects actually become smaller as he gets nearer. The Mayor tells him that perspective is a myth, and that objects in Del’s world are afraid of being eaten, so they puff themselves up when people get close. Then he demonstrates with a fat, placid dog, which turns into a monolithic beast when Del approaches, because he’s spooked by meeting a stranger. Another funny sequence animates one of Plympton’s family portraits, and places it in a variety of increasingly unlikely settings.


Clip from 'The Tune'

One of the two most striking things about The Tune is its complete lack of consistency. Plympton says on the DVD commentary track that he varied his animation technique from segment to segment to keep himself interested in the project over the years, so over the course of McElheron’s sad ballad “Home,” for instance, he tries a variety of visual experiments, dropping out the color, then dropping out most of Didi’s face as she sings, leaving only her lividly textured eyes, nose, and mouth hanging in midair. The film gives a perpetual sense of an artist testing out every style that crossed his mind. Transformation is key to Plympton’s work, and the theme extends to his style as well as his content.

The other striking thing is that working on his own lets him work without censorship. He’s always had a macabre bent and a love of what he calls “barnyard humor,” which here extends everywhere from a field full of cowshit to a country-music song about happy reunions, in which various paired foods (spaghetti and meatballs, a hot dog and a bun, a hamburger and a french fry, a slice of pie and a scoop of ice cream) happily reunite… and then usually hump like bunnies. Nothing in The Tune is as raunchy as later Plympton features, but it’s clear he isn’t playing toward Disney standards, or worried about offending his audience; he’s playing to his own sense of humor, and letting everyone else choose to come along for the ride or not.


Revengeance Trailer

The Tune played Cannes and Sundance in 1992, and Plympton says he went in fully expecting a multi-million-dollar distribution contract to materialize out of nowhere, because in his naïveté, he thought that was how film festivals worked. When that didn’t happen, though, it didn’t daunt him. He went back to the drawing board, literally, and continued scripting and animating his own independent films: 1997’s I Married A Strange Person!, 2001’s Mutant Aliens, 2004’s Hair High, 2008’s Idiots & Angels, and the upcoming production Cheatin’. These days, Plympton has far more outlets for self-promotion, like his online production blog for Cheatin’, or his own YouTube channel. And he has more routes toward financially supporting his own work, like contracting out for an installment of a Showtime shorts series, or for a Simpsons opening-credits couch gag that tells the tragic origin story of the couch itself, while implying that Homer Simpson has a half-couch bastard child.


Footprints Trailer

But The Tune still stands as a first, not just for him, but for the industry. In an era of committee-created, test-marketed, corporate-approved visions, it was just as much of an outlier as Quentin Tarantino’s Reservoir Dogs from the same year, and just as much of a positive sign for the future of independent cinema. If one man can make a movie, anyone can make a movie, provided they have the determination, and preferably an entirely oddball vision.

Source.

May 11, 2018

Josiah Steinbrick Animation by Jules Guerin

7PEAS


"7Peas is a series we are currently developing. It will deal with gender issues and sex equality through supercharged fights, mixing live footage and animation. This episode 0 is for us the way to give an overview of the aesthetics of the universe."

Directed by: Bounty / Banana - Steven Briand & Julien Jourdain de Muizon
Ninja: Julien Jdm
Stray Dor: Luca Fiore
Ninja girl: Melissa Humler
Production Manager: Sébastien Guitton
1st Assistant Director: Zulu Finalteri
DOP: johan leclaire - bottarelli
1st Camera Assistant: Jodie Arnoux
Fight Choreographer: Kefi Abrikh
Stunt double: Gary Cothenet
Stage Manager: Théo Charpentier

Storyboard: Etienne Guignard
Concept Art/Layout: Joseph Rahamefy & Alison Jofrio
Animator: Hugo Louiset
Sound Design: Mectoob
Graphic Design: Milos Trkulja

sylvain chaux
Joachim Imbard
Gaffer: DayanOualid
Costume Designer: Nicolas Brosseau

Monteur: Pierre-Alain Berisset
Post Prod Manager: Charlotte Brisebarre
FX Supervisor: Jao Eka M'changama
VFX Artists: Michael Moercant & Jean-Martin Mossu
Workflow Supervisor: Nicolas Huguet

May 02, 2018

Travel Oregon



"Only Slightly Exaggerated" campaign for Travel Oregon.
Directed by Kylie Matulick & Todd Mueller.

Written and produced by Wieden + Kennedy
Animation by Psyop & Sun Creatures Studio
Music by Oregon Symphony

SUN CREATURE
Executive Producers: Guillaume Dousse, Charlotte de la Gournerie
Producer: Guillaume Dousse
Associate Producer: Simon Lee Bresling
Line Producer: Charlotte Sanchez
Production Manager: Fie Ørnsø
Art Directors: Simon Lee Bresling, Guillaume Dousse
Animation Supervisors: Liane-Cho Han, Kenneth Ladekjær
Background Supervisor: Patrice Suau
Storyboard Artist: Liane-Cho Han
Colorscript Artist: Daniel Cacouault
Concept Artists: Patrice Suau, Daniel Cacouault, Thomas Reteuna, Ben Marsaud, Mourad Elias Seddiki, Simon Masse, Leïla Courtillon, Linnea Sterte, Luca Vitale, Lucas Durkheim, Samuel Klughertz
Character Designers: Kenneth Ladekjær, Luca Vitale
Layout Background Artists: Simon Masse, Jean-Michel Boesch, Linnea Sterte, Thomas Reteuna, Jade Khoo
Layout Posing Artists: Kenneth Ladekjær, Pierre Rütz, Mourad Elias Seddiki
Layout Compositing Artists: Birk Von Brockdorff, Anthony Lejeune
Background Painters: Patrice Suau, Simon Masse, Thomas Reteuna, Matthew Vince, Grace Liu, Sylvain Fabre, Théo Boubounelle, Alexis Liddell
Character Animators: Pierre Rütz, Christoffer Elsborg Kramme, Mourad Elias Seddiki, Thibaud Petitpas, Kenneth Ladekjær, Cyrille Chauvin
FX Animators: Thibaud Petitpas, Olivier Malric, Rachid Guendouze, Ines Scheiber, Stéphane Chung, Kenneth Ladekjær, Touraj Khosravi
Clean-up Artists: Christoffer Elsborg Kramme, Kay Sales, Laura Büchert Schjødt, Nawell Sdiri, Marick Queven, Sandrine Han Jin Kuang, Mette Ilene Holmriis
Color Detail Animators: Christoffer Elsborg Kramme, Kay Sales, Laura Büchert Schjødt, Nawell Sdiri, Sandrine Han Jin Kuang, Mette Ilene Holmriis, Pierre Rütz, Mikkel Mainz Elkjær
Animation Color Artists: Christoffer Elsborg Kramme, Kay Sales, Laura Büchert Schjødt, Nicoline de Selsted Lind, Mette Ilene Holmriis, Mikkel Mainz Elkjær
Senior Compositing Artists: Birk Von Brockdorff, Paul Ó Muiris

PSYOP
Directors: Kylie Matulick, Todd Mueller
Managing Director: Neysa Horsburgh
Executive Producer: Lucy Clark
Head of Production: Drew Bourneuf
Producer: Nick Read
Associate Producer: Lara Arikan
Designers: Joe Ball, Devon Manney, Andrew Park, Robin Thompson
2D Supervisor: Ryan Raith
Storyboard Artist: Max Forward
Compositors: Ryan Raith, Joe Ball, Sarah Blank, Tommy Wooh
Flame Artist: Kim Stevenson
Editors: Brett Nicoletti, Lance Pereira
Assistant Editor: Rob Cavedo

April 30, 2018

'Within Without' by Patrycja Cmak



In a barren and cold world, a lone knight travels toward a sole beacon of hope; a beautiful, golden city. When the knight’s way is blocked by an infallible monster, the knight must fight to reach his goal; but can they defeat the monster from within the heavy armour without facing the memories that haunt?
WITHIN, WITHOUT was made by a team of 3rd year Character Animation & CG Art students at The Animation Workshop/VIA University College in Viborg, Denmark. Check out the individual students blogs (links below) to learn more about the talent behind the film and check out the project blog.

Credits:
Patrycja Cmak - Director (http://paticmak.portfoliobox.net/)
Ariel Ries - Story Lead (http://arielries.tumblr.com/)
Marie Post Riggelsen - Production Manager (http://mariepost.strikingly.com/)
Maria Madelaire Forná - Art Director (https://vimeo.com/mariamadelaire)
Morten Solgaard Pedersel - Art Director & Technical Director (https://vimeo.com/user25960198)
Marta Milczarek - Pipeline Manager & Environment Lead (https://mkmilczarek.portfoliobox.net/)
Carl Otto Moesgård Jørgensen - CG Generalist (
https://vimeo.com/user32471977)
Henrik Langergaard Jepsen - CG Generalist
Additional Animation:
Myra Hild
Pauline Champetier
Kristine Behrmann Larsen
Linda Chuu Bjurhager
Leena Lecklin
Louis Kynd
Joel Stenbäck

Additional Clean-up and Colour:

Søren Sparre
Jowanna Barvizi
Federico Pirovano
Kristina Silkjær
Pernille Flyvholm
Philip Rodrigues
Sarah Rothernberger
Mariyam Aulbekova
Charly Katrin Mårtensson
Cora Mckenna
Karoline Lie
Monica Antonie Meineche
Sofya Baychuk

April 23, 2018

'Ways of Seeing' by Robert Wallace

A commissioned short film about experiencing the BALTIC gallery in Gateshead (UK).

April 20, 2018

The Misleading Story of the Cuban Missile Crisis

Blender Introduces Incredible 2D Animation Tools Within Its 3D Pipeline



The Grease Pencil provides 2D animation tools within Blender’s free and open-source full-3D pipeline. For a clearer idea of what this means, take a look at the end credits of Hero which shows in-production scenes from the demo.

Blender has offered the Grease Pencil technology in its software for a number of years, but the new update will allow for “feature quality animation production” in Blender 2.8. The first beta of Blender 2.8 will be available in the second half of 2018.

April 16, 2018

Cartoons and Vodka - Jinkx Monsoon

Chad VanGaalen – “Host Body”

“Planet J” by Alessandro Novelli

Roger Ebert talks about 'Grave of The Fireflies'

90s Marvel Cartoons: The Original MCU

How the Continental Army Was Actually Formed

The Disturbing History of the Pilgrims

The Truely Messed Up Story of Pocahontas

A Selfish Argument for Making the World a Better Place – Egoistic Altruism

Wall-E as Sociological Storytelling

'The Alphabet Song' • SUNSHINE RHYMES - By Copernicus Studios

March 30, 2018

Amazing Cat Themed Animated Zoetrope Cake

This is a video of Gâteau Gato, a cat themed spinning zoetrope cake created by artist and pastry chef Alexandre Dubosc. It features a bunch of animated cat imagery as it spins including Felix the Cat walking, a Japanese good luck Maneki-neko cat waving, and the cat bus from My Neighbor Totoro.

March 29, 2018

'Face Face' by Chris Prynoski & Michael Moloney

"Face Face" animated short film by Chris Prynoski & Michael Moloney

March 21, 2018

Guns Explained with Cats

'Sunshine Rhymes' by Copernicus Studios

A new musical series of animated shorts for preschoolers, created by Copernicus Studios. They took a collection of classic children's songs and lovingly reimagined them with vocal contributions from some of Nova Scotia’s greatest singers, including: David Myles, Rose Cousins, Stewart Legere, Breagh MacKinnon, Kim Harris & Ben Caplan, and lovingly animated in this beautiful storybook style.

Old Macdonald Had A Farm



Twinkle Twinkle Little Star



Itsy Bitsy Spider


More to come soon...

March 20, 2018

Colorscope: Pink



Client: CNN
Creative Producer: Sarah-Grace Mankarious
Directed by: Giant Ant
Creative Direction: Jay Grandin
Producer: Liam Hogan
Storyboard: Conor Whelan, Jay Grandin, Marion Bordeyne, Eric Pautz
Art Direction: Eric Pautz
Illustration & Visual Development: Eric Pautz, Marion Bordeyne, Conor Whelan, Shawn Hight, Sitji Chou, Whitney Lam
Animation Direction: Conor Whelan
Animation: Conor Whelan, Shawn Hight, Chris Anderson, Henrique Barone, Matt James, Taylor Peters, Whitney Lam
Compositing: Conor Whelan, Eric Pautz
Audio: Bryan Stone


Breakdown of cloth animation process:

March 18, 2018

BBC Winter Olympics – 'The Fearless are Here' by Nexus Studios



Agency:
Y&R London

Agency Producer:
Kat Maidment

Creative Director:
Mark Roalfe

Creative Leads:
Gavin McGrath
Jim Bolton
Psembi Kinstan

Production Company:
Nexus Studios

Directors:
Smith & Foulkes

Creative Director:
Chris O’Reilly

Producer:
Tracey Cooper

Production Manager:
Rebecca Archer

Animation Supervisor:
Michal Firkowski

Art Directors:
Alice Duke
Shen Yi

Design:
Callum Strachan
David Feliu
Jamie Jones
Maxime Dupuy
Melanie Climent

Animation Lead:
Bishoy Gendi

Animation:
Duncan Gist
Hozen Britto
Ines Scheiber
Peter Lowey

FX Animation:
Frankie Swan
Ines Scheiber

Clean Up Animation:
Christina Nerland
Duane Uba
Giacomo Autili
Judit Boor

Compositing Lead:
Abel Kohen

Compositing:
Chris Moran
Daniele Baiardini
Elliott Kajdan
John Taylor

Editors:
Dave Slade
James Alexander

Sound Design:
Anthony Moore

Music Production:
Native Music

Composer:
Fred Ashworth

March 17, 2018

NPR Invisibilia // Alien Hand - by Giant Ant



Invisibilia, NPR's radio program and podcast that fuses storytelling with science, came to us with their very first animation assignment. The story of a woman who's hand has a mind of its own. We paired the unpredictability of Karen's experience with an unpredictable visual style.

-------
CREDITS
Client: NPR | Invisibilia
Directed by Giant Ant
Producer: Teresa Toews
Creative Direction: Jay Grandin
Storyboard: Sitji Chou
Art Direction: Rafael Mayani
Illustration: Rafael Mayani, Marion Bordeyne, Sitji Chou
Animation: Diego Maclean, Sitji Chou, Conor Whelan, Whitney Lam,
Clean up: Marion Bordeyne, Whitney Lam, Diego Maclean, Sitji Chou, Conor Whelan

March 16, 2018

'Travel Channel Little Journeys' by Dog & Rabbit













The films are all stop-motion animation with a bit of post-production good stuff here and there when needed.


The props and people featured in the films are all 1/76(ish) scale models. Throughout all these films you can see the vehicles and people from the other films scattered within, and it's shot in the macro lens/tilt-shift technique to give it a strong 'photographed miniatures' effect.

The films were produced by Perfect Tribe for Scripps.
Animation by Dorota and Andrew. Photography and video by Nich. Sound design by Nigel Manington.

March 14, 2018

'Hype'



Client: Intel
Production Studio: Hornet
Director: Ege Soyuer
Executive Producer: Hana Shimizu
Head of Production: Sang-Jin Bae
Development Producer: Kristin Labriola
Producer: Niki DiCesare
Editor: Stephanie Andreou
Storyboard Artist: Ege Soyuer
Designers: Ege Soyuer, Austin Hermann

2D Lead Animator: Ege Soyuer
2D Animators: Hui Chi Chuang, Elena Manetta
Compositors: Ege Soyuer, Hui Chi Chuang
C4D: Chris Guyot

Music & Sound Design: Barking Owl

Agency: TBWA/Chiat Day
Creative Directors: Matthew Woodhams-Roberts and Dave Horton
Senior Art Director: Andrew Livingston
Senior Copywriter: Simon Bruyn
Producer: Joe Maggiore
Brand Director: Amy Krieg
Brand Manager: Dana Fors

March 05, 2018

Ballmastz: 9009 Trailer - by Titmouse

'The Ricochet Splendid' by 2veinte studio



Directed & Produced at 2veinte
Creative Director: Pablo Gostanian
Executive Producer: Agustin Valcarenghi
Animation Director: Diego Polieri
Art Direction: Pablo Gostanian, Diego Polieri
2D Lead Animators: Diego Polieri, Fernando Toninello, Juan Nadalino, Israel Giampiero
Additional Animation: Patricio Plaza, Martin Gil, Julian Fumagalli
2D Animation Assistants: Yazmin Hanna, Denise Cirone, Diego Fracchia, Ivan Greco
Additional Clean up: Facundo Garcia, Agostina Salvemini, Nahuel Sagarnaga
Idea: Pablo Gostanian
Characters Design: Diego Polieri
Story: Pablo Gostanian, Diego Polieri, Melisa Farina
Compositing: Daniel di Paola, Mateo Vallejo
Editorial: Pablo Gostanian, Diego Polieri
Production: Carolina L’avena
3D Animation: Mateo Vallejo
Illustration: Diego Polieri, Nahuel Sagarnaga, Patricio Delpeche
Additional Illustration: Santiago Villa
Robot Design: Delfina Perez
Additional AE Animation : Daniel Di Paola
Original Music: Thomas Richard Christensen
Ending Credits Music: Sergio Denis - “Un poco loco”


- Where comes the idea of "Ricochet Splendid" ?


Pablo Gostanian: We've always been big fans of show openings. You see, for us, it's a really interesting piece, as it combines lots of great things, lots of action, great animation, amazing characters, infinite situations. We get to play with the cameras and lead the characters to their greatest moments. It’s a showcase of our design and animation skills.

So, a year and a half ago, the idea was to produce a fun opening for a show that combined comedy (we really wanted comedy) and action. We spent more than a month writing and creating the Ricochet universe, it’s plot and characters.


- It feels like an opening of 80's animated TV series, like Galaxy Rangers, Silverhawks ... which were in fact american TV series animated in Japan. Did you watch such series when your were kids in Argentina ?


Pablo Gostanian: Yeah, of course. We grew up watching all of those shows. They are part of our childhood and today's nostalgia. Their openings are pretty cool to watch today.


- About design and animation, what was your influences ? I can feel a lot of vibes, from Hiroyuki Imaishi to Takeshi Koike, Peter Chung, or even Mike Judge.


Diego Polieri: Thanks for noticing this influences, they are gods to us. I’m pretty sure these references were in our heads at the moment of designing.

We’re really influence by anime, we’re big fans. The drawing style of the characters is pretty much free and expressive, maybe that is why you named Mike Judge, cause our characters also have bizarre and comedy features.

One of the films that has more influence in me was Furi Kuri. For its Aesthetics and animation style. It had a big impact in me for the freedom they had in the way they draw the characters in function of what each scene needed. Another interesting thing, beyond the influences, is that this short was done by a team from Argentina with a different background than the Oriental, and no doubt you can notice this culture and tradition in the work.


- Who made the song and music ? Can you tell us a bit more about that ?

Pablo Gostanian: As soon as we had finished with the draft boardamatic (boards in a time line), we needed a good music track. I had in mind this Danish musician, I loved some of his old work. So, we called Thomas Richard Christensen, we showed him what we’d got so far, and luckily he said yes!

He created the music based on the plot and the characters, it's simply brilliant, he captured each scene of the Ricochet Splendid instantly. I strongly suggest you check out the lyrics, they are super cool.

- So this is a fake opening, but who knows, if some rich producer come to you ... do you have a true script :-) ?

Pablo Gostanian: We wish! As we say here in Argentina “Dream! It’s free” hahaha. But who knows!

The story is quite complete in terms of plot and character outlines but we don't have an actual script right now. It's all a question of sitting our asses down and start writing. We are open to receive an offer from any rich producer haha.

-- Via Catsuka.

February 24, 2018

Un Homme est Mort

Here's the trailer of "Un Homme est Mort" (A man is dead) - a french animated movie directed by Olivier Cossu (Les Armateurs studio). Based on the comic book by Kris & Etienne Davodeau.

February 19, 2018

"Lilou" by Rawan Rahim

Storyboard: Leyla Kaddoura, Sasha Kaspy , Vic Chhun, Caroline Murell.
Animation: Vic Chhun, Wen Fan, Emily Phuong, Chenghua Yang, Mehdi Tebbakh, Arnold Feder, Leyla Kaddoura, Laurent Labeyrie, Bernard Bui, Pierre Ledain, Jonathan Djob Nkondo, Mohamed Fadera.



February 15, 2018

James Vincent McMorrow "National" animated music video directed by Giant Ant studio

This video for James Vincent McMorrow’s ‘National’, revolves around a man and a car, which serves as a container for various moments that present the character’s insecurity and loneliness, but also love. The car is a claustrophobic room and a vast space—a shield against the world outside, and the perfect spot to listen to music in the rain. Everything about the song, from the stripped-back instrumentation to the raw vocal, is incredibly moving and personal. We wanted to compliment this with a similarly emotive video that tells a story of unrequited love, interiority, and the complicated feelings that surround painful but treasured memories.

February 14, 2018

'My Moon' Trailer



Written and Directed By Eusong Lee
Producer: Sarah Kambara
Executive Producer: Alex Hirsch
Associate Producer: Claudia Diaz Cojuangco
Storyboards & Editing by: Eusong Lee
Original Score by: David Kamp
Art Director: Eusong Lee
Background Design & Color: Jasmin Lai, Lauren Zurcher
Animation Director: Natan Moura
2D Animation: Jonathan Djob Nkondo, Thea Glad, Stéphanie Mercier, Sixtine Dano, Katrina Ruzics
Compositing Director: Stéphane Coëdel
Compositing: Natan Moura, Rob Ward, Céline Desrumaux
Sound Design & Mix: David Kamp

January 29, 2018

Heroes of The Storm "MechaStorm" by The Line & Axis studios for Blizzard game



Director: Wesley Louis
Exec Producer: Sam Taylor
Producer: Hanae Seida
Storyboard: LeSean Thomas
Additional Boards: Alvise Zennaro
Art Director/Layout: Mathias Zamecki
Animation: Jonathan Djob Nkondo, Alvise Zennaro
FX Animation: Naoki Araiza Tokumasu
Backgrounds: Mathias Zamecki, Igor Piwowarczyk
Additional Backgrounds: Bjorn Erik-Aschim, Michael Shorten
Clean Up Artsts: Setareh Seto, Francisco Magalhães, Venla Linna, Bianca Howell, Reg Isaac, Walid Abou El Joud, Kelly Holmes, Jennifer Belobi
Compositing Supervisor: Max Taylor
Compositing Lead: Freddie Lewis-Wall
Compositing: Deborah Ho
Graphic Design: Max Taylor
Production Assistant: Leana Mae Felipe
CG Supervisor: Tom Flavelle
Modelling: Luke Gibbard Tom Flavelle
2D/3D Pipeline Development: Jack Straw, Lawrence Bennett
Compositing: Kye Dorricott: Tom Flavelle
Rigging: Simon Legrand
CG Animation: Luke Gibbard, Tom Flavelle, Simon Legrand

Axis Credits:
Exec Producer: Andrew Pearce
Creative Director: Richard Scott
Producer: Laura McAllister
Production Coordinator: Sophie Robeson

Blizzard
Music: Blizzard Entertainment
BXFYS Audio
Sound Design: Box Of Toys Audio

January 28, 2018

2017 FX Tests created in 6 weeks by groups of 5 students in 2nd year at the Gobelins school

- "Temps Libre"
Made By Jawed BOUDAOUD, Victor CHAGNIOT, Grégoire DE BERNOUIS, Maxime JOUNIOT.



- "Petit Jour"
Made By Simon CADILHAC, Matthieu DAURES, Louis HOLMES, Jade KHOO, Léa REY-MAUZAIZE.



- "Le Garde Tempête"
Made By Juliette BROCAL, Margaux CAZAL, Sandy LACHKAR, Agathe LEROUX, Camille LETOUZE.



- "Mailed it"
Made By Camille BROUTIN, Emilie DAMIENS, Dongsan KIM, Michelle ONG, Olga SERDYUKOVA.




- "Orphée"
Made By Manon CANSELL, Nathan CRABOT, Jeanne HAMMEL, Edward KURCZEWSKI, Mandimby LEBON.




- "Rhaido"
Made By Sophie BAROCAS, Clara DANJOUX, Victoria GREGORY DE MILLO, Hortense MARIANO, Théo TRAN NGOC.