Nexus director Conor Finnegan leverages the charm and subtle humor of his multi-award-winning short film “Fear of Flying” for this gentle peek at a wooly, puppet-populated woodland thru London Agency Sunshine for Dorset Cereal. Conor Finnegan: “It was a tight enough schedule from initial go-ahead, with just [Read more]
The vast majority of inflight safety videos deserve to be ignored because they’re benign and boring. Virgin Atlantic on the other hand treat the mandatory clips as edutainment and just replaced theirs (created by Nexus back in 2002) with this ambitious epic produced over six months by London’s Art&Graft who won [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.
Check this happy, intricate and cosmic zoom-y look at “what books get up to when we step out of the room” created to accompany the New York Times’ Book Review annual ‘Holiday Books’ supplement by Nexus’ wunder-director/designer Johnny Kelly with music and sound design by the ubiquitous David Kamp. [Read more]
Nexus director Jonas Odell revisits his frenetic multi-media ways in this bouncy re-team with Glasgow indie popsters Franz Ferdinand from their upcoming album Right Thoughts, Right Words, Right Action. Also of possible interest: this live version of “Right Action” complete with explanation of the origin of the
Legendary (and Oscar nominated) Nexus directing duo Smith & Foulkes’ continue their fertile relationship with Honda that started with the breakout “Hate Something” spot in 2004. Here they rely heavily on London studio Analog for VFX supervision and post.
Mike Merron, VFX supervisor at Analog: “Hands are notoriously difficult to draw and it turns out that getting this many animated objects to sit in the hands is quite difficult too. Our initial tests showed the directors and animators at Nexus just how important this element of the production was. We knew from the outset that it was hugely important for the hands to physically hold, grip and inspect ‘something’ as it would immediately ground the spot in reality.”