Post pobrano z: People’s Choice @TheFWA for new arsthanea.com
Archiwum kategorii: Design
Love You to Bits
Post pobrano z: Love You to Bits
Here’s a bitter sweet love story for Broken Social Scene’s “Sweetest Kill” directed by Claire Edmondson.
“Sweetest Kill” is from the 2010 album Forgiveness Rock Record and the video stars Bijou Phillips and was shot over one day in Los Angeles. The video, although very sweet in its styling (Edmondson is a former stylist) and art direction, features a pretty brutal and gory kill.
„The killing is more metaphorical than actual,” says Edmondson. The whole video is really just about keeping the people you love, but can’t be with, in a beautiful place”.
The video, which was partially funded by MuchFact, the music video, epk, viral video and website production fund exclusively funded by Canadian music television stations MuchMusic and MuchMore, has been banned by both stations due to its content. “I’m not surprised by the ban,” says Edmondson, “but I also never made it with the intention of creating controversy.”
„The killing is more metaphorical than actual,” says Edmondson. The whole video is really just about keeping the people you love, but can’t be with, in a beautiful place”.
The video, which was partially funded by MuchFact, the music video, epk, viral video and website production fund exclusively funded by Canadian music television stations MuchMusic and MuchMore, has been banned by both stations due to its content. “I’m not surprised by the ban,” says Edmondson, “but I also never made it with the intention of creating controversy.”
Typophiles mugs
Post pobrano z: Typophiles mugs
Smart pick-me-up-and-make-me-laugh-or-think liners, these really cool mugs from Typography Shop are nice designy gifts for creative colleagues, designers and typophiles.
Dvein’s Monsters For Terminix
Post pobrano z: Dvein’s Monsters For Terminix
A hoard of frightening monsters invade homes in a cinematic TV campaign for pest-control brand Terminix created by ad agency Publicis Dallas and produced by Blacklist’s Barcelona-based directorial and design collective Dvein. The four spots, part of the 2011 integrated ad campaign, use high-end 3D animation to liken termite, cockroach and ant infestations to the creeping specters of disease and structural damage.
For Dvein, creating such unsettlingly insatiable creatures was a chance for the Blacklist-repped collective to design and animate characters unlike any others seen in feature film or commercials. “Dvein’s work for Terminix is edgy, fresh, attention grabbing and creatively inspiring,” says Adina Sales, Managing Director / Executive Producer, Blacklist. “We are so grateful to work with the Publicis Dallas and Terminix teams who have been great collaborators keen to push boundaries from the start.”
“We liked the idea of working so deeply in character animation,” adds Dvein. “It was something that we hadn’t done before. We love how original and different the campaign is from what pest control companies typically do in advertising.”
Each monster is based on a hybrid of animal and insect features. The hefty, winged star of “Flying Monster”, for example, combines the lumbering nature of bison and elephants with a piranha’s gaping mouth. Dvein dispensed with eyes to emphasize its more unsightly features and add extra fright value.
“We thought it was important to create monsters that were unusual and unsettling,” adds Shon Rathbone, EVP, Executive Creative Director, Publicis Dallas. “Something from the dark corners of the imagination.”
In “Beams”, a psychotic, multi-mouthed creature with buzz-saw teeth gnaws away at a room. “Our main concern was to distance it from being insect-like and made it more animalistic,” they say. “In all the spots, the idea was to build a collage of attributes, forms and textures in line with a termite’s modus operandi.”
Dvein animated the creatures using a combination of manual and simulation tools, such as 3D Studio Max, Maya, After Effects and Nuke, to give each action-packed ad as natural a feel as possible, amplifying the realism of each monster’s weight and anatomy with strategic camera framing. “In this project it’s pretty clear that we have a taste for realistic, organic forms,” they say. “Our influences are traditional animation techniques and the cross-section between disgustingness and cuteness.”
This particular job required a lot of trust between collaborators, which is one of the reasons Publicis and Terminix looked toward Blacklist and Dvein, as they worked together on Terminix’s 2010 campaign. Familiar with Dvein’s diverse artistic talents, they gave them a lot of freedom to conceptualize and design the monsters and the resulting campaign is not only a persuasive warning for consumers, but evocative of Dvein’s darkly imaginative creative vision.
“We thought it was important to create monsters that were unusual and unsettling,” adds Shon Rathbone, EVP, Executive Creative Director, Publicis Dallas. “Something from the dark corners of the imagination.”
In “Beams”, a psychotic, multi-mouthed creature with buzz-saw teeth gnaws away at a room. “Our main concern was to distance it from being insect-like and made it more animalistic,” they say. “In all the spots, the idea was to build a collage of attributes, forms and textures in line with a termite’s modus operandi.”
Dvein animated the creatures using a combination of manual and simulation tools, such as 3D Studio Max, Maya, After Effects and Nuke, to give each action-packed ad as natural a feel as possible, amplifying the realism of each monster’s weight and anatomy with strategic camera framing. “In this project it’s pretty clear that we have a taste for realistic, organic forms,” they say. “Our influences are traditional animation techniques and the cross-section between disgustingness and cuteness.”
This particular job required a lot of trust between collaborators, which is one of the reasons Publicis and Terminix looked toward Blacklist and Dvein, as they worked together on Terminix’s 2010 campaign. Familiar with Dvein’s diverse artistic talents, they gave them a lot of freedom to conceptualize and design the monsters and the resulting campaign is not only a persuasive warning for consumers, but evocative of Dvein’s darkly imaginative creative vision.
ADCC – Love & Hate
Post pobrano z: ADCC – Love & Hate
This is the opening created for the 2010 Advertising & Design Club
of Canada (ADCC) Awards. The film taps into an insight we think every
creative feels – love for the business when things are going well, and
hate, when things aren’t.
of Canada (ADCC) Awards. The film taps into an insight we think every
creative feels – love for the business when things are going well, and
hate, when things aren’t.
Director: Arev Manoukian
Production Company: Spy Films
Produced by: Carlo Trulli, Marcus Trulli, Peter Oad
Agency: Leo Burnett
Visual Effects: Crush, Toronto
Editorial: Panic & Bob, Toronto Editor: Mariam Fahmy
Marian V3
Post pobrano z: Marian V3
Marian V2
Post pobrano z: Marian V2
Marian V1
Post pobrano z: Marian V1
Univermagic
Post pobrano z: Univermagic
Escape | Spillt
Post pobrano z: Escape | Spillt
Escape has been a SPILLT pet project for the past 7 months. It was shot
entirely in-house on our green screen, and combines the use of
illustration, film, photography and 3-D motion design. The video is
built from more than 130 animated Photoshop brushes to create each
scene. Each group of brushes were layered over each other, or built on
to create both the environments and the elements in the video. Combining
animation, design and musical talents from the Denver scene, this video
represents a true collaboration of local artists. Special Thanks to
Jasper at Futuristic Films for providing us with some new cameras and
thanks to our old pals at New Frontier for providing lighting for the
shoot.
~ Spillt
Music By: Mc Subcon and Kam Moye
Design, Direction, Animation: Ryan Bramwell, Chris Sayres and Brian
Long