Post pobrano z: Together Project

Post pobrano z: Diesel CEO Chair to be filled

Choosing a CEO is serious stuff. It takes skill, responsibility and a lot of knowledge. The Diesel CEO’s chair is empty at the moment. Alessandro Bogliolo served as CEO for the Italian fashion brand from 2013 until July 2017 when he left to work with Tiffany. Until the official successor takes on the role, the company is searching for someone to temporarily occupy it: a Chair Executive Officer. With such a short amount of time available, there’s only one skill that anyone interested in the role must possess: to be ridiculously good at sitting in a chair. That’s why Renzo Rosso, Diesel’s founder, is asking people to showcase their best sitting technique on the brand’s Facebook page. Starting from 5th October, people will be able to showcase their sitting skills for 4 days by commenting with photos or videos on the post that launches the initiative. The new Chair Executive Officer will then fly to Italy, straight to Diesel headquarters, where he or she will become a brand ambassador, sitting on the brand’s most important chair for an entire week: the Diesel CEO Chair.

Diesel CEO Chair Credits

The Diesel CEO Chair campaign was developed at Publicis Italy, by worldwide chief creative officer Bruno Bertelli, executive creative director Cristiana Boccassini, digital creative directors Milos Obradovic and Mihnea Gheorghiu (Global), copywriters Matteo Gatto and Sara Rosset, art directors Andrea Raia and Cecilia Moro, creative supervisor Costanza Rossi, producers Isabella Guazzone, Silvia Cattaneo, project manager Vittorio Cafiero, social media manager Doina Tatu, account team Barbara Pusca, Camilla Poli, Giuseppe Esposito, working with Diesel global head of advertising, media and product marketing Giada Gheno, chief marketing officer Dario Gargiulo, head of advertising and e-commerce production Deborah Salbego, project manager Theodoros Mallas, creative director Nicola Formichetti

Filming was shot by director Tommaso Pitta via Bedeschi Film with executive producer Federico Salvi, producer Diana Passoni, stylists Anna Quacquarelli, Chiara Luna Mauri, offline editor Fabrizio Squeo.

Post pobrano z: Deskercise

Post pobrano z: EYES, a series of playful installations by Lucas Zanotto

Post pobrano z: Netflix Series “Disjointed” Intro Animation

And if you liked that, you’ll like this, too:

Disjointed produced at Titmouse

Post pobrano z: Crafting a digital comic: Q&A with André Bergs

André Bergs is no stranger to animation. And the iPad is no stranger to digital comics.  But André’s recently released “Protanopia” sports a unique look that begs users to pick up their device and dive into the story’s world. We asked André for details about the process behind his passion project — and why he’s… Read more »

Post pobrano z: Gravity Cat out of the Box

Gravity Cat, the commercial for Playstation 4 game Gravity Rush 2 (known in Japan as Gravity Daze 2), has won a Grand Prix award at Spikes Asia. The commercial, commissioned by Sony Interactive Entertainment, was designed as a cat video demonstrating new laws of gravity outdoing Newton’s law of gravity. Although the game is animated, the Gravity Cat commercial is made as live action film in which two sisters and their cat run freely across the walls and ceiling of their unit, before being released to free fly through the sky. The commercial begins with a university student struggling with her thesis on laws of gravity. At the end she’s released to live outside of the box. The cat appears in the video in recognition of the sidekick cat character in the Playstation game. And, of course, cat videos are eminently shareable.

The production team explain that they tackled challenging visual expressions, including one-cut takes, POV filming, animal takes, and gravity changes. “We made it as realistic as possible to get viewers questioning/wondering how it was made, and to give it the wow factor.” See the making-of video below.

Gravity Rush, known in Japan as Gravity Daze [a], is an action-adventure video game developed by SCE Japan Studio and Project Siren, and published by Sony Computer Entertainment for the PlayStation Vita.[6] Directed by Keiichiro Toyama, the core mechanics of the game is the player’s ability to manipulate gravity, allowing unique movements and navigation.[7] The graphics are cel-shaded, which in Toyama’s opinion stand out from the western photorealistic trend.[8] A sequel titled Gravity Rush 2 was announced on Sony’s TGS 2015 press conference and was released in the United States on January 20, 2017 for the PlayStation 4.

Gravity Cat Credits

The Gravity Cat ad was develop at Hakuhodo Inc. Tokyo, by creative director Yuta Okuyama, creative team Yusuke Amagai, Yuki Yokoi, Keita Togawa, and Masumi Nishibori, account executives Kiyomi Wada and Maiko Hayashi.

Filming was shot by The Directors Guild director Show Yanagisawa and assistant director Masumi Nishibori, with Sturgeon cinematographer Ryoken Okamura, assistant cinematographer Shinji Kawai, lighting designer Atsutoshi Ueno, assistant lighting designer Kohsei Kobayashi, set designer Yukiko Kuribayashi, stylist Takeru Sakai, makeup artist Yuki Aika, Tohokushinsha Film Corporation producers Takashi Aso and Tatsuya Sunohara, production manager Takuya Omura, and assistant production manager Takuya Sugimoto.

Art production was by Shunsuke Okutani at Nouvelle Vague Co Ltd.

Editor was Etsuko Kimura at Active Cine Club with Hanako Tabata. Online editor was Kenichi Sasaki at Defense.

Visual effects were produced at Omnibus Japan Inc by CG director Tetsuaki Matsumoto, CG producer Hisamichi Kido and CG production manager Chu Ikebe.

Colorist was Toshiki Kamei at Cutters.

Sound was produced by sound designer Erito Ayaki and sound effects producer Yoshio Nakamura. Music, “Mewton” feat. Haru (DIALUCK), was composed by Yuma Yamaguchi, with and produced by Kazuyoshi Tonami at Yuge Inc.

Post pobrano z: IKEA Cook This Page at home

IKEA’S Cook This Page, an in-store promotion in Canada, has won a Grand Prix award at the Clio Awards. The IKEA Cook This Page campaign involved a set of printed recipe sheets distributed to IKEA stores to encourage use of IKEA kitchenware and food products. “The Cook This Page Parchment Paper Recipe Series,” a collection of easy-to-make recipes printed on cookable parchment paper. With step-by-step instructions and a list of ingredients precisely illustrated on the parchment paper to match actual proportions, the only thing one had to do was add food, roll it all up and bake it. The sheets are printed with food-safe ink. With the fill-in-the-blank directions, you can place the salmon, meatballs, shrimps, fruit crumble and other ingredients inside the printed layouts. Finally, roll up the paper with all the ingredients and get ready to cook your meal.

IKEA store managers created in-store events across Canada to show that cooking can be fun, simple and exploratory. Posters were offered to customers as they selected kitchen ware and ingredients. All 12,500 parchment paper recipes available in 18 locations were snatched up within hours.

IKEA Cook This Page Credits

The IKEA Cook This Page campaign was developed at Leo Burnett Toronto by chief creative officer Judy Johns, creative director Lisa Greenberg, group creative director/art director, designer and illustrator Anthony Chelvanathan, group creative director/copywriter Steve Persico, senior graphic artist Robin Osmond, executive producer Franca Piacente, agency producer Alexandra Postans, print producers Good Cathmoir, Anne Peck and Carly Price, group account director Allison Litzinger, account director Emily Robinson, account supervisor Rebecca Simon, chief strategy officer Brent Nelsen, VP group planning director Tahir Ahmad.

The Cook This Page kits were printed at Printed By Somerset / Mississauga, using paper from Papertec Inc and ink produced at Trade Graphics By Design Inc.

Photographer was Arash Moallemi at Fuze Reps.

The video was produced by videographer Jonathan Lajole, food stylist Matthew Kimura, editor David Nakata, with music by Grayson Matthews.

Post pobrano z: Game of Thrones Tapestry in Northern Ireland

Tourism Ireland has won the Grand Prix at the Kinsale Shark Awards for the second year in a row, following on from the Doors of Thrones campaign to the Game of Thrones Tapestry. After seven years of production, Game of Thrones® has truly become a part of Northern Ireland’s heritage and culture. In order to celebrate this, Tourism Ireland have created the Northern Ireland Game of Thrones® Tapestry – a giant, 77 metre long medieval wall-hanging that brings to life the events, locations and story of the most popular television series of all time. Harking back to Northern Ireland’s rich heritage of textile and linen manufacture, the Northern Ireland Game of Thrones® Tapestry was hand-woven and hand-embroidered using linen sourced from one of the last surviving linen mills in Northern Ireland. Traditional medieval tapestries of a similar size have taken upwards of 20 years to complete. 66 metres of this tapestry were created in under 3 months, to be followed by a new section every week, following the release of each new episode of Game of Thrones® season 7. The full Northern Ireland Game of Thrones® Tapestry is currently on display at the Ulster Museum in Belfast, as well as online at Ireland.com.

As season 7 unfolded, new sections of the tapestry were revealed each week, using a mix of cinemagraphs, time-lapse videos of the weaving process, carousels and Instagram Stories. Each element of the campaign drives fans to an interactive “Northern Ireland Game of Thrones Tapestry” web app that allows fans to zoom in and explore the tapestry in full and share their favourite scenes with their friends via social media. The website also reveals the shows filming locations in Northern Ireland, and links to build an itinerary for their own trip.

Behind the Scenes

Before being woven and embroidered, each key scene and character from the show has to be painstakingly recreated and designed by artists and illustrators – condensing over 77 hours worth of storytelling into 77 metres of drawings. Once the hand illustrations are complete, designers recreate the drawings digitally, in order to map out the weaving guide and colour pallets befitting each individual scene. These are then hand-woven and brought to life by expert weavers, on a state-of-the-art Jacquard Loom. Each section of the tapestry comprises of Northern Irish linen, as well as the same fabrics and textiles used for the costumes and sets in the show. Once woven, hand-embroiderers then meticulously retouch every fine detail – from King Joffrey’s golden crown to Daenery’s shimmering hair.

Game of Thrones Tapestry Credits

The Game of Thrones Tapestry project was developed at Publicis London by executive creative director Dave Monk, creative director Dave Sullivan, copywriter/art director Josh Norbury, designer Duncan Rogers, account director Ben McKee, account manager Kathryn Mason, strategist Chris Turner, social media planner Radd Nadesananthan, business director Katie Edwards, agency producer Kal Parmar, working with Tourism Ireland head of marketing communication Brian Twomey, central marketing director Mark Henry.

Textiles production was done at Dash+Miller.

Digital media was designed at Hugo & Cat. Media was handle at Carat London.

Post pobrano z: Honda Alphabet