Animation which shows typography evolution from paper to screen.
The animation is divided in two parts.
The first deals with the basic rules of typesetting.
The second, is about the evolution of typography in cinema.
Used mainly for Opening and Closing title.
Clair de Lune - Debussy
Shoot the Piano Player: Poursuite - Hugh Wolff & London Sinfonietta - Georges Delerue
The faces of class, wealth, history and tensions between individualism and conformity in British society are explored in this visual journey from East (E5) to West London (SW7). Consisting of almost 4000 images of the city's residences taken in 2009 and 2010.
Shot using an Iphone using the sculpture that you can see in the images one the right.
Finished on 35mm with a wonderfully spatial 5.1 mix it (which unfortunately you can't hear here)
Sound: Sandy Milne.
Titles: Ray O' Meara
Premiered at Wavelengths, Toronto International Film Festival 2010, curated by Andréa Picard.
Winner of London International Documentary Festival "my street" Award 2011
24 hours human timelapse, shot on a roof in Paris for 24 hours non-stop, 1 frame every 16 seconds, from 11am till 11am.
"The heart never sleeps..."
Directors: Chic & Artistic
Production Company: Chic & Artistic Unlimited
Dan Black's Human time-lapse / Paris Crew
DOP: Bruno Pellarin / Gwen Le Bras @ Zoo Studio
Set Decorator: Géraldine Nicolo
Assistant Set Decorator: Eli Serres
Characters Designer: Maddlyne Di Mino
Monsters Talents: Aurélien Branco, Henry Scotland
Roof Terrace: BETC
Kelis's Shoot / Roma Crew
DOP: Giuseppe Mottola
Gaffer: Giulio Bastione
Hair / Make up Artist: Claudio Ferri
Studio Location: Marconi Studios
Post Production: Chic & Artistic
Supervisor / Animation and Compositing: Barbara Toth
Graphic Design: Chic & Artistic
Intern: Ambre Simon
The Bear & the Hare is the first John Lewis campaign to embrace the emotive power of animation, a filmic technique so evocative of Christmasses gone by.
Elliot and Yves took the two most traditional and time-honoured animation processes – stop-motion and traditional hand-drawn 2D animation – and combined them to create something innovative and unique. Their aim was to do almost everything in camera, using real lighting, lens and film craft to build a world where the audience can see and feel the painstaking work behind it. The 2D animation’s physical interaction with the set and the human imperfections inherent in the process create a hand-crafted piece full of heart and integrity.
The animation process involved constant shifts between 2D and 3D worlds. In order to achieve this complicated combination the whole film was first created in Blinkink Studios as a 3D previsualisation animatic with all the sets and characters built to scale. This allowed everything to be developed and planned alongside the modelmakers and animators, thus integrating the different disciplines and processes before the set was built or the characters were printed.
Aaron Blaise (Brother Bear, The Lion King, Mulan) and his team of veteran Disney animators at Premise Entertainment in Orlando, Florida, designed and animated the characters. The 2D-animation frames were printed onto mounted paper and cut with a laser. Each frame (nearly 4,000 in total) was then individually hand-labelled before going on set. Feature-film stop-frame animators then spent 6 weeks bringing the world to life.
The set was built by our production designer John Lee (Aliens, Fantastic Mr Fox, Frankenweenie) and his team at Shepperton Studios before being transported to Clapham Road Studios ready for the stop-motion shoot.
Post-production was done in-house in Blinkink’s animation studio, and the final grade was completed at MPC.
Elliot Dear & Yves Geleyn
James Stevenson Bretton