Mr. Trollbäck and crew untangle the complexities of carbon pricing for We Mean Business, a coalition of companies dedicated to promoting a low-carbon economy. The video, which employs a “minimal graphic language system built on color and iconography” screened before Apple CEO Tim Cook’s presentation at Climate Week in NYC yesterday. [Read more]
Zena Barakat‘s talent for commissioning touching, thoughtful, low key motion work based on the urban relationship narratives found in The New York Times’ Modern Love column continues uninterrupted with the release of this insightful three-minute piece by director/animator Scott Wenner, aka the CD at motion504 in Minneapolis.
Scott Wenner: “The challenges were the aggressive schedule (approx. 4 weeks total) and finding unexpected ways of complimenting the VO instead of just illustrating it. The biggest challenge was the daunting task of having complete creative freedom: which you always think you want, until someone gives it to you.
“With the days ticking down and panic setting in, I went down multiple roads and had many false starts before finally landing on a look and feel. I even spent some significant time on a photorealistic route until the final cut-down of the audio interview made it clear that it was the wrong direction.” [Read more]
Issue 107 adds another 1.5 hours of inspiration and insight to the Stash Permanent Collection of over 4,000 outstanding animation, VFX and motion design projects including behind the scenes features and exclusive interviews with the talent behind the brilliance. [Read more]
Buenos Aires motion studio Lumbre just finished their first project for FOX Sports USA: This hardcore launch spot and toolkit for the 20th season of “The Ultimate Fighter” featuring 16 female fighters all shot on location in Vegas. [Read more]
“We didn’t have any preconceived notions of doing a film noir style short. Typically, the Animography monthlies are very short visual-based explorations primarily using typography.
“From the beginning we knew we wanted to shape our story around the Magnus typeface but at the same time we didn’t want to make it just about the type itself. Early on in the development stage we observed that the way the type animates on is similar to the movement of opening and closing blinds so windows and blinds became the root of our idea.
“Soon after we landed on the noir genre and consequently built the story around the theme of high contrast lighting, corruption and a tortured detective. Overall, it was a great experience in focusing on style while also reaching further into the realm of storytelling.” [Read more]