1. Scott Naturals was a rare chance for myself and the team at Bent to explore the commercial and artistic possibilities of Strata Cut animation technique with a series of stenciled out paper sheets, which were lined up in deep continuing space.

    This Strata Stencil idea was first explored by animator Javen Ivey in his 2006 thesis project ‘My Paper Mind’ at Pratt, partly inspired by Bent partner David Daniels’ original plasticine technique. After graduate school, Javen later came to intern at the Bent. Aaron Noffsinger from the Tris3ct agency in Chicago was also very familiar with David’s Strata Cut, and thought it would be a great artistic starting point for Scott's first broadcast spot, and a great exploration into the animation realm.

    I was brought into the project as a director to design and conceptualize with David using “Paper Mind’ as an influence, but not an ultimate destination. Together, we created a more complex and highly produced space. Executing it all in CG as opposed to by hand, was an absolute production necessity due to timing and content changes up to the very end of the short deadline.

    We explored both negative and positive spaces in the stencil effect, and also introduced a very unique “Rolodex effect“ that was made out of animated cut-out layers overlapping each other over an long camera shot. The clean factor of CG forced us to find ways to add irregularities to the paper, as well as and color and exposure shifts to bring back more of the ‘folk’ accessibility and ‘hand made charm’ to the audience.

    Creating some of the silhouetted stenciled shapes in CG also allowed us to do some interesting slight perspective changes. It’s brief and underplayed, but helps the subliminal flow and clarity of each scene.

    We used a physical (practically shot) paper towel roll at the end from which pull out with the assistance of a motion controlled camera. This assured the realism we were looking for in the end product tableau, while continuing the flow and drama of a continuous camera move coming out from the CG world.

    In its essence the project was highly technical and demanded constant collaboration between our compositing and CG teams, but it allowed us enough creative space to experiment and innovate in many ways.

    Client: Kimberly-Clark Worldwide

    PRODUCTION COMPANY
    Director: Nando Costa
    Executive Producer: Ray Di Carlo
    Senior Producer: Tsui Ling Toomer
    Producer: Mark Axton
    Coordinator: Chris Barber
    Storyboard Artist: Dan Schaefer
    Principal Animators: Eric Scheur, John Lally
    Additional Animators: Aja Bogdanoff
    Stopmo Director of Photography: Dan Ackerman
    Stopmo Animator: Eric Urban
    Art Department Coordinator: Evan Stewart
    CG Crew: TD – Fred Ruff. Modeling/Lighting/Rendering TD – Stef Kofman, Galen Beals, Shirak Agresta, Josh Cox, Eric Durante
    Graphics Artists (2D): Dave Manuel, Traci Cook, Ken Nguyen

    AGENCY
    Advertising Agency/city/state: Tris3ct
    Creative director: Aaron Noffsinger
    Producer: Michael Antonucci

    POST
    Editorial Company: BENT
    Editorial Supervisor: Jeff Dawson
    Editor: Jeff Dawson
    Assistant Editor: Ben Blankenship
    Visual Effects/Compositing Supervisor: Randy Wakerlin
    Composite Artists (After Effects): Orland Nutt, Sean Saul
    Colorist: Downstream Digital, Portland, OR – Jim Barrett
    Sound Design: Deaf Dog Music
    Music: John Ovnik

    # vimeo.com/6803905 Uploaded
  2. With the furore in the graphics world surrounding Iron Man 2 and the interfaces in the film, when we were asked to produce graphics “in the style of “ the whole team jumped at the chance.

    Rushes were approached to provide a proof of concept for a new science show that wanted to use heavily treated on screen graphics as info panels to relay information to the viewer. The show was to be very varied in the concepts and items it talked about and the producers wanted a slick stylised way to get that information across.

    To start with we used a Canon 5D MkII to shoot an entire sequence allowing the team to provide a cohesive and comprehensive solution to the brief. Using the supplied reference of water as our inspiration the sequence was shot, cut and graded before being brought into various packages to design and comp the graphics and 3D.

    Using boujou and PFTrack Seb Barker of Rushes 3D department immediately went to work on tracking the footage to allow the graphics to sit nicely in the shot, while the mgfxstudio team started to design and animate screens and interfaces which would later be comped in. “The final edit could be nicely broken into three main segments which meant each designer had their own section and interface to design and animate. It’s always fun when jobs like this come in, it lets your creative ideas flow a bit more and allows you to try a few more things than perhaps normally you would in a standard working day”.

    Once Seb had solved as much of the 3D tracking as was possible he then went to work on modelling the water molecule. Using Maya and shake he built and animated photorealistic water elements to work with the edit whilst also providing a graphical transition allowing the studio teams graphics take over.

    “We used bits and pieces we had from our own archives, stuff we wanted to use but couldn’t, or things that we hadn’t fully finished but had a nice concept, the stuff that all designers have in the bag for a rainy day, put them into the pot, gave them some polish and saw what came out. In the end it was a mixture of these bits and bobs, new designs and concepts and the need for interaction that drove each animation sequence. We also had to bear in mind that these screens needed to be relevant. They had to have a distinct look but also had to make sense as well as interact with the footage.”

    The end result was a nicely finished, stand-alone piece that we think really works. It is rare to get a chance to work on a totally free concept with merely a reference point as a brief, and to finish an entire sequence, from filming, editing, grading, through 3D and 2D tracking, concept design, 3D and 2D animating and on to compositing and delivering in less than a week is a feat in itself, but to do it to this standard highlights the whole teams talent and flexibility.

    # vimeo.com/14292120 Uploaded
  3. Director: Mischa Rozema
    Production Co: PostPanic
    Agency: Sek Grey (Finland)

    The retro-feel present throughout the commercial, comes from the JAFFA brand itself. On the Finnish market since 1949, the orange drink is still in the top 3 of most popular soft drinks in the country. JAFFA is part of Hartwall which is owned by Heineken International.
    The internationally awarded 85 year old graphic designer Erik Bruun is best loved for his iconic posters and adverts for Hartwell and his work has been awarded the prestigious Pro Finlandia medal. You could call him a Finnish institution. Not only does PostPanic’s commercial make Bruun’s work come alive but he can be seen for the first time in the flesh, sketching the Jaffa logo.
    Director Mischa Rozema wanted to create a commercial based on Bruun’s legacy. This time though, Mischa had to base his visual direction on someone else’s graphic aesthetic rather than his own.
    The result, another trademark visually unique mixed media film, combining live action with 2d/3d animation, motion graphics, stock footage and visual effects.
    Director Mischa Rozema says he was inspired by the look that Bruun created:
    “ The story needed to be told by the means of the actual posters. We had to create more 2D landscape to imaginary landscape where we go from a poster to another one. We had to choose the posters that had the most in them landscape and storytelling wise. I was inspired by the simplicity and retro feeling which reminded me of Saul Bass’s work. Bruun’s work has that same contemporary feeling and textures use that makes it real”

    CREDITS
    Client: HARTWALL
    Category Marketing Manager: Leena Koskinen
    Jaffa Brand Manager: Outi Lahtinen

    Advertising agency: SEK & GREY
    Key Account Director: Marja Vattulainen
    Producer: Elina Estlander
    Art Director: Ville Granroth
    Copywriter: Sami Korjus

    Production service and consulting: Front Desk Oy
    Producer and Production consultant: Merja Metsävaara-Mildh
    Production manager: Noora Karhunen
    1st Assistant director ( Live shoot ): Janne Launo
    Accountant: Elisa Lotti

    Production company:
    POSTPANIC Director: Mischa Rozema
    Executive Producer : Jules Tervoort
    Production coordinator: Elina Suhanko
    CG Supervisor: Ivor Goldberg
    3D Animators: Patrick Chin, Jurrien Boogert, Marti Pujol
    2D Graphics & Animation: Erwin van den IJssel, Doma Harkai, Kerstin Hoehne
    Music & Sound design: MassiveMusic

    Helsinki shoot:
    Talent: Erik Bruun
    DOP: Daniel Lindström
    Focus puller: Jarkko Liikanen
    DIT: Toni Panula
    Grip: Tommi Tikanoja
    Gaffer: Aki Karppinen
    Technician: Timo Haapasaari
    Runner & catering: Hanna Hälikkä
    Production designer: Antti Nikkinen
    Set build: Roland Mildh
    Make up, hair and wardrobe: Iiris Virranta

    # vimeo.com/39473241 Uploaded 39.2K Plays 25 Comments
  4. Project team

    Partners: John Rushworth, Daniel Weil, Naresh Ramchandani
    Designer: Joe Stephenson
    Writer: Tom Edmonds
    Director: Steven Qua

    # vimeo.com/50534202 Uploaded 12.1K Plays 1 Comment

Reference

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