Seismic-grade earth-bending from director Tomek Bagiński and Poland’s Platige Image in this short for the European Space Agency’s Rosetta mission starring Aidan Gillen (Game of Thrones) and Aisling Franciosi (The Fall) which premiered at BFI Southbank in London as part of the British Film Institute’s [Read more]
Rimantas Lukavicius and the KORB crew spin their pristine and often startling brand of CG in two very different directions for Gucci and Nike.
GUCCI (above): “Inspired by journeys to exotic lands, the new Gucci Oud fragrance features an inventive blend of traditional Eastern ingredients. Natural oud is tempered with pear, raspberry and saffron along with other evocative essences for a sensual and modern fragrance, for him as well as for her.”
NIKE: “After 27 years the new Lunar1 continues it’s tradition to bring performance and design in a perfect combo. Supported by the ever-changing patterns of 2400 fluorescent lights, the new design is revealed in the rocky desert.”
SoCal hyper-visualist Strangeloop whips original artwork by Japanese guro manga legend Shintaro Kago into a crazed “shamanic pilgrimage into the psychedelic unknown of the infinite afterlife” in this promo for Flying Lotus’ upcoming Warp release, a jazzified concoction featuring Herbie Hancock, Kendrick Lamar, Snoop Dogg, Thundercat, etc.
EPILEPTIC WARNING. [Read more]
Interactive music video’s are a polarizing lot and no doubt this one for Ty Segall’s new “Manipulator” track, directed by Matt Yoka and designed/coded by Simon Wiscombe, will add fuel the debate. Is it “fucking brilliant” as one online reviewer calls it? Or is it just a chaotic mashup of random imagery held together by weak art direction?
“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]
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]