Reset TV claims their “Letris” formatted TV product “combines the intensity and strategy of Scrabble and the excitement and quick pace of Tetris.” Hmm, not sure I’ll be watching anytime soon but the frenetic CG title sequence by Physalia ranks as possibly the coolest game show open ever. [Read more]
Erin Sarofsky reunites with producers Anthony and Joe Russo (who they worked with on the titles for “Community” in ’09) to close Marvel’s “Captain America: The Winter Soldier.” The Chicago studio presented eight creative directions with the winning treatment created by Sarofsy and comic book artist David Mack.
Erin Sarofsky: “With this film, Anthony and Joe produced a narrative that evokes 1970′s conspiracy thriller cinema. With that in mind, we wanted to create a main-on-end title sequence that acknowledged their inspiration but was interpreted with more modern sensibilities.
“So we worked within a visual style that has simple, graphic compositions with strong, legible typography. This look is a clear nod to the spy style and political thriller title design of the 60s and 70s.” [Read more]
LA-based British ex-pat director/designer Simon Clowes, Prologue veteran Ilya V. Abulkhanov and the Prologue crew instill the characters in this opening for Bungie’s Destiny game with a believable warmth and vulnerability rarely (if ever) seen in the CG cinematic genre. [Read more]
Ever wish you could control your espresso machine with your iPad? Me neither, but you may be tempted after seeing this seductive product demo for Saeco’s flagship model, the GranBaristo Avanti. Designed, directed and produced by PlusOne in Amsterdam thru Iris Worldwide. Music and sound design, ParkStudio. [Read more]
Cute anthropomorphic bakery products are not what I expect from an Axe spot but in the hands of MJZ director Matthijis van Heijningen and Paris VFX powerhouse Mikros Image (the team behind Canal+ “The Bear”), the unexpected casting choice works and moves Axe into new territory with “Dark & Gold.” [Read more]
Nexus directors Smith & Foulkes brew up two-minutes of apocalyptic fun for a serious cause in this broadcast and cinema spot boosting awareness for Stand Up To Cancer, the partnership between Channel 4 and Cancer Research UK, billed as a ‘killer night of fundraising.’
Smith & Foulkes: “The initial brief was to turn the table on cancer, depicting the disease as a civilization spreading aggressively – unable to prevent its own Armageddon in the style of a disaster movie.
“The main challenge was how to visualize the cancer cells. We wanted to steer away from the obvious route of showing cells as a bunch of grotesque alien germs, but we were also acutely aware of not making them too human or cute.”
“We also had to find a way to illustrate the new therapies, drugs and scientific breakthroughs that are fighting Cancer. We wanted their arrival to be initially magical and mysterious. so we used a glowing blue orb, an unexplained light descending upon a shadowy world.
“Disaster Movies rely heavily on vast visual spectacle and a cast of thousands, so working within our time constraints we decided to recreate this using 2D matt paintings to show a sense of the city without having to model every building.
“This gave it an illustrative and richly textured feel. Modeling and animating our cast in 3D gave us the flexibility of performance we wanted, and made them stand out from their environment.” [Read more]
The razor wars between Schick and Gillette have produced some ridiculous ad moments and depending on your level of cynicism this spot may be another one, but I prefer to see 1stAveMachine‘s new product demo for the Gillette Fusion ProGlide Razor with FlexBall Technology (ok, the name is ridiculous) as a step in the right direction away from hewn jaws and jet planes.
Beautifully shot, minimal in execution and featuring New York composer Son Lux, the 83-second clip produced for Grey New York is a small part of the $200 million Gillette is spending to market the razor launched earlier this year. [Read more]