London 3D specialists Neon throw their talents for seamless 3D/live action integration at the timeless question “How does one describe the wool production process in an entertaining way?”
Neon MD Tom Bridges: “We were careful not to go over the top with the animation – it’s a piece of wool, after all – but we wanted to give it some character to create some drama. We also found it a challenge to tell our story in a visually exciting way – whilst relating it to the industrial processes going on in the background.
“The technical challenges were myriad. Not least was the wool staple itself, which was an unruly combination of animation and simulation. We shot footage in Biella, Italy and in Huddersfield in the UK. Getting all this footage to intercut with our fully CGI set pieces took a lot of finessing.
Back in May, Portland animation studio LAIKA announced it was spinning off its advertising division LAIKA/House to focus on feature films. The new independent entity, branded House Special and lead by president Lourri Hammack, CD Kirk Kelley and MD of strategic operations Al Cubillas, are off to a promising start completing the end credits of LAIKA’s Boxtrolls and this acerbic in-house CG short called “A Tale of Momentum & Inertia.” [Read more]
Brighton creative studio FutureDeluxe celebrate their fifth birthday by expanding into London and releasing this blinding swirl of eye-candy called “Mothership,” the first of five films in collaboration with Twistedpoly (aka Slovenian designer/director/motion artist Nejc Polovsak) and Zelig Sound. [Read more]
Take a look at the immense and painstaking effort behind the TNT “The People Network” by director Mischa Rozema and his production/post crew at PostPanic in Amsterdam thru agency Etcetera.
Mischa Rozema: “There was just no way to turn a script like that down, even though it had ‘IMPOSSIBLE’ written all over it. The complexity, the size, the craziness. Maybe that’s what really pulled me in to this. I just loved stepping into the unknown and finding out how we could make this work.”
“We decided to really push what could be achieved in camera by actually creating a full size human truck on the set. It worked by having a huge, truck-sized, metal rig that could be pulled by an actual truck. We then filled it with an incredible Czech stunt team (famous for big Hollywood blockbusters) that had been rehearsing for weeks and gave the whole project a realistic approach.”