New Sao Paulo motion studio Consulado (designers Andre Fiorini, Boca Ceravolo and producer Daniel Greco) mark their first anniversary in business with a massive animated broadcast package for MTV Brazil’s VMB 2011 awards (Brazil’s version of the VMA). Special thanks to ATOMO.
“We did pretty much everything, from the intro to the live visuals, event invites, etc. A total of 140 deliverables, over 100GB of files, 20,000+ frames rendered. Hope you like it.” Yes, we like it.
Enigmatic and sweeping new music video from Seattle interactive and motion studio WINTR full of tight motion tracking and surprising/riveting visuals. Label: Subpop.
There are several conflicting sets of credits online at the moment for this VFX intensive :60 for Range Rover so we’ll hold back on the exactly-who-did-what until we straighten that out. But we can say deep, dark and wonderfully cinematic = must watch.
The Psyop crew headed by CDs Laurent Ledru and Dan Vislocky, 3D lead David Chantos and VFX super/lead Flame Kim Stevenson breathe fabulous entomological life into this Chevy Sonic “Joy” spot.
You may have seen erroneous credits attributing the spot to Goodby, Noam Murro and Method, we’re here to set the record straight: Agency: McCann New York/Detroit, production: Psyop/Smuggler, director: Psyop, sound design: Bill Chelsey @ Henryboy, music: “Bang Bang Rock and Roll,†Art Brut.
Piotr Karwas can’t sit still, keeping busy between paying gigs with a string of spec clips effectively demonstrating his range of 3D and VFX talents. Witness “YETI” above and “Mini Mobius” below (produced at Mission Studio) as well as last year’s pair of World War Robot vingettes here.
Franck Aubry and Joseph Hodgson at Racecar in Oslo just sent us their tranquil and cosmic 3D animation experiment called Kiss, “a no-budget, independent film, undertaken to examine… the consequence of something as innocent as a kiss. Our story is personified through the sun and the moon as seen from earth, as a solar eclipse. A love story plain and simple.”
News of fresh work from 1st Ave Machine director Vinicius Costa always gives me a shiver because I know mind-blowing pitch art comes with it. Check the Gallery and Videos tabs at viniciuscosta.tv for new visual treats.
Stash is proud to present Vinicius as a featured speaker at the STYLE FRAMES design conference this May 10-11 in beautiful Buenos Aires.
Check the spectacular style frames director Luis Torres and EP Jorge Bobadilla of La Flama in Mexico City pitched to Saatchi Hong Kong for a Chinese TV spot promoting “The House of Dancing Water,†a new floor show at the City of Dreams Casino in Macao. And no, incredibly, they did not get the job.
Student films like “Little Tombstone” leave little doubt about the ESMA campus in Toulouse joining fellow French schools Supinfocom and Gobelins as an elite animation school and (I believe) reinforces France’s place at the very top of the motion education food chain. More info and BTS at little-tombstone.com.
New animation directing collective Parallel (illustrator Quentin Baillieux and photographer Raphaëlle Tinland) open their doors to the world with ChezEddy handling representation. The pair first worked together on the short film Lavomatic (Stash 79) and just released this stylish clip for PernodRicard TV a few hours ago.
The Mill LA fire the first volley in the Super Bowl XLVI ad wars with some smile-inducing particle VFX in this :60 for the Audi S7 directed by Matthijs Van Heijningen thru MJZ for Venables Bell & Partners. Editor: Jono Griffith @ Hagon, music: “The Killing Moon†by Echo & The Bunnymen.
Director Tomek BagiÅ„ski and Warsaw gods-of-3D Platige Image bring all their considerable animation skills to bare on this lavish game intro to “Witcher 2: Assasins of Kingsâ€. Platige CG super Maciek Jackiewicz, who worked on the project with a team of 40 designers and animators, labels the film “one of the most demanding projects in Platige Image history.”
So here’s the thing: Vimeo occupies ground zero for artists, animators, directors and studios who want their video hosted in a friendly, cost-effective, reliable, ad-free environment – and you don’t grow to 9.7M registered users and 65M unique visitors a month by disappointing people.
Which begs the point, if your Vimeo ain’t broken…?
Indeed, Vimeo wasn’t broken but it was getting on – the last rethink of the site and UI happened in 2007. Massive growth, user feedback and the desire to future proof the site all lead to the New Vimeo.
How new is new? Vimeo now looks cleaner and smarter but this is no cosmetic make-over, an in-house team of approx 20 has been banging away for 13 months, and re-wrote every line of code on the way. According to Vimeo, this “cleaner codebase allows for more rapid development so the team can release site updates and new features in less time.”
Check this absolutely visceral opening sequence for Red Bull’s new NBC show. It teams Other Films director/DP Scott Duncan and the post skills of Spontaneous with editor Todd Crites supplying the micro-surgery to “Sail” (Unlimited Gravity Remix) by Awolnation.
