Planktoon and Passion for Sidaction
Paris directing collective PLANKTOON (aka Sun, Alban, Fabrice, Alexandre and Sebastien) step outside their usual realm of fun/colorful 3D character work for this powerful monochrome fundraising appeal created for French AIDS charity Sidaction thru Passion Paris and Leo Burnett. If you have kids of any age, it’s [Read more]
Zeitguised and Folch Studio: “sim | stim”
Barcelona design house Folch Studio invites Zeitguised (Amsterdam’s grand masters of cool weirdness) to help launch Odiseo Magazine No.4 and the result is “sim | stim” which they describe as “a cargo cult of sensual nano-alchemy. The film celebrates temporary mummification of the body by engaging in an erotic [Read more]
DixonBaxi Loves Sony TV Latin-America
London branding powerhouse DixonBaxi just launched their new site with a slew of new work including this punchy broadcast redesign for Sony TV across Latin-America anchored by clean typography, flat graphics and sleek CG. [Read more]
Daniel Hope’s Inter-species X-Pollination
Glassworks Amsterdam director/animator Daniel Hope takes liberties with the natural order of predator-prey releationships in these two CG-masquerading-as-stop-motion clips for the bi-annual ad-scene networking events in Amsterdam called X-Pollination. [Read more]
Rok Predin and Trunk: “One of a Kind”
A warm, dreamlike tale of reverse evolution from director Rok Predin and producer Richard Barnett at Trunk in London, this new CG short called “One of a Kind” features 70 characters bound together by a quietly commanding VO from actor Jim Carter (“Shakespeare in Love,” “Downtown Abbey”) and music by [Read more]
BDA Creative and Studio Hansa: Fine Living Branding
European broadcast branding veterans BDA Creative team with the CG crew at London’s Studio Hansa to refresh the on-air look for the Fine Living Channel across Europe, the Middle East and Africa with a finely detailed, photo-real and full-3D treatment
“Due to budgetary factors and logistics, shooting six wildly varying scenes was not an option (the scenes needed to embody smartly designed spaces that could be international and aspirational). We decided that the best option was to go totally CGI for flexibility, control and efficiency.”
