Buenos Aires motion powerhouse Lumbre continues to grab the attention of clients and awards judges with their obsessively detailed 3D broadcast design work. The latest evidence: New animated packaging for TyC Sports’ flagship news program Sportia, “The full rebrand weighs in at over 50 pieces including [Read more]
Here’s a light and snappy confection to warm your chilly Thursday: Brazilian AD and motion man Pier Paolo expands on Antonio Vicentini’s “Camera Collection” to travel a timeline of classic films complete with the reworked music themes by Marcelo Baldin and a serving of Aphex Twin’s “Donkey Rhubarb.” Paulo is [Read more]
London creative force weareseventeen take the camouflage-the-logo approach to these three animated CG tags for new Norwegian general entertainment and lifestyle channel TV6 – hitting the core programming categories of Food, Glamour and Architecture. “As this logo was new to viewers our main challenge was to [Read more]
In terms of screen time, Method Studio’s feature-level VFX dominate this spot but somehow never steal the spotlight, always serving the story and enhancing the young narrator’s sense of wonder and pride. Nice work. [Read more]
After winning the praise of festival audiences and juries for his charming and low key animated short “Fear of Flying” last year, Dublin’s Conor Finnegan spun 180 degrees to create the twisted tale of a malevolent sphincter in “Asshole.” His latest project, uses “stop-motion paint on puppet parts and lots of After Effects” to conjure this vibrant/cryptic music video for Irish-born, Berlin-based-artist Candice Gordon. Conor is represented by Nexus.
Epileptics beware, Zeitguised push motion capture to the edges of recognition in this lobe-lashing chroma-cacophony for “Cream Theme” from veteran German electro-duo Mouse on Mars accompanied only by this enigmatic caption, “Escapism is freedom if claimed by a subject – it can not be consumed.” [Read more]
Some of you may remember when Star Wars (aka John Stears, John Dykstra, Richard Edlund, Grant McCune and Robert Blalack) won the very first “Best Visual Effects” Oscar back in 1977 but I challenge anyone to list all the winners since. Enter Chicago native and montage master Nelson Carvajal with his latest [Read more]