“Transcendent steampunk octopus,” said no one. Ever. Except Jon Yeo, the London based director/writer/editor and DP of “Leviathan Ages,” the VFX-driven short sweeping thru the film festival circuit for the past year powered by the authoritative VO work of Robert Blythe and atmospheric audio from Radium. [Read more]
The latest in a wonderfully wacky animated campaign for French financial services provider Cofidis from Passion Paris director Jack Antoine Charlot asking a timeless question about bikers: “Prejudice, why?” [Read more]
Veteran Santa Monica motion mavens Blind let you choose your own path to love in the new interactive Coldplay adventure/video called “Ink,” offering over 300 narrative variations all rendered in a seductive illustrative style. Teamed with interactive specialists Interlude, Blind wrote, directed and animated the project. [Read more]
Five weeks and 85 takes later, Cirkus director Christian Greet and crew wrap “Welcome to Airbnb,” a one-minute, one-shot, CG and animation-free project shot with a custom toy train-cam careening through an insanely detailed miniature set where all the transitions happen by hand in real time. Agency: TBWA\Singapore.
The finished spot:
Insightful/inspiring short film about “speech recognition, language understanding, neural nets, and using our voices to communicate with the technology around us” directed by Jessica Brillhart at Google Creative Lab with production and post handled by Artjail. [Read more]
Powered by brilliant lyrics from Bret McKenzie (Flight of the Concords), Biscuit director Andreas Nilsson and The Mill belt out “Dadsong” (the sequel to “Momsong”) for Old Spice thru Wieden+Kennedy, Portland.
Tim Davies, CD/2D lead at The Mill: “It was a hilarious shoot in Prague with brilliant casting of local Czech actors and watching Andreas manage to get a phenomenal performance out of each person despite the language barriers was amazing.
“We made prosthetic arms for the last two shots which were puppeteered to run across the floor and up the the picture frame. These arms were mainly used as a reference and to try and get some sort of quirky feel to the shots. On set we also filmed the mom’s real hands which we then tracked onto the prosthetics and then retextured the arms with real skin.” [Read more]