Director/animator Clément Morin re-imagines Angus Wall’s now-classic 2011 “Game of Thrones” opening sequence to reinforce HootSuite’s prediction of the coming Social Media Winter caused by the “battles being fought between many social networks, who are building walls and blocking access between their [Watch]
Hornet director Yves Geleyn reveals to Stash readers his design and narrative goals behind the powerful new 90-second PSA for States United to Prevent Gun Violence:
“Most commercials would cut on the gunshot, but we felt strongly that we should show it. If it were live-action, broadcasting regulations would have stopped it. Animation allowed us to show the whole scene. People expect the climax even less because of the medium.
“Once we settled on using animation, the key to heightening the emotional impact is in the simplicity of the piece. Less is more. Your brain fills the gaps. You understand that you are in a kid’s room, but it is not filled with too many objects. It is about the mood. This gives more room for the characters to inhabit each scene.
“The character designs themselves are graphic. They have human proportions but in an illustrated way. It is about striking a balance between lovable characters while keeping them realistic so people can project themselves. The family also does not have any sort of key defining characteristics, which helps make them relatable to a wider range of people.
“Speaking in terms of lighting, it is designed in such a way that it points to areas we want you to focus on (something Renaissance painters used frequently). The lighting is sharp. There are no gradients. There are no shadows, just highlights. The lighting helps to build the scene.”
Facts about kids and guns in the US:
• 1.5 million American children live in homes with unlocked and loaded firearms.
• Every day at least 6 children age 0 to 18 are injured in an unintentional shooting.
• 75% of gun shot injuries to children under ten that are serious enough to require hospitalization are due to unintentional shootings. [Watch]
Sometimes all the elements of a production work so well together it just makes you wanna watch again. In the case of “Cooks Range” for Lurpak butter products thru W+K London, those elements include: Blink director Dougal Wilson, DoP Stephen King Roach, editor: Joe Guest @ Final Cut, the VFX/post team at MPC, sound designer Aaron Reynolds @ Wave Studios, and a hot young composer named Richard Strauss.
The campaign also includes delicious print assets like the one below featuring photography by Blink Art film-maker and photographer Ryan Hopkinson.
Glassworks Amsterdam director Rudiger Kaltenhauser puts a frigid 3D-animated twist on the extreme macro world of fabric technology (and David Beckham’s skin) for Adidas thru the Meanwhile agency. Check Kaltenhauser’s G-STAR ‘Art of RAW’ spot for more CG macro magic plus Skrillex and a skeleton dog. Audio: Kaiser Sound Studios. [Watch]
Ambitious and snappy new CG “Coming Soon” intro now hitting Scotiabank cinemas across Canada produced in stereoscopic 3D by creative directors Anthony Scott Burns, Abdul Mohamud and the Topix crew in Toronto thru agency Capital C. [Watch]
The all-powerful CG/VFX team at Mikros Image in Paris help Evian and agency BETC extend the ubiquitous Baby & Me campaign with some tight Spidey moves. [Watch]
