Find out the latest news about industries for Feature Animation, VFX Films, and Next-Gen Games.
This is an unofficial opening sequence for "The Adventures of Tintin" which features elements from each of the 24 books.. This superb work of motion design is created by Slimjimstudios. The music is created by Ray Parker and Tom Szczesniak.
Megalomania perceives the city in total construction. The built environment is explored as a labyrinth of architecture that is either unfinished, incomplete or broken. Megalomania is a response to the state of infrastructure and capital, evolving the appearance of progress into the sublime.
Constructed predominantly using 3d Studio Max and rendered with Vray. Organic movement sequences were originally filmed on a Canon 5D mkII, tracked in PF Track and developed in CG. Demolition created using Rayfire. All compositing done in Adobe After Effects, edited in Adobe Premiere Pro. Audio recorded and coordinated using Adobe Audition. More information about the project at thoughtsnotthoughts.blogspot.com/
Stiikon Design has created a trippy audiovisual soundsculpture, reacting to the sound of Amon Tobin's Foleyroom, at Milwaukee Art Museum. The animation was coded using After Affects with Mandelbulb3D.
Brixton has degenerated into a disregarded area inhabited by London's new robot workforce - robots built and designed to carry out all of the tasks which humans are no longer inclined to do. The mechanical population of Brixton has rocketed, resulting in unplanned, cheap and quick additions to the skyline.
The film follows the trials and tribulations of young robots surviving at the sharp end of inner city life, living the predictable existence of a populous hemmed in by poverty, disillusionment and mass unemployment. When the Police invade the one space which the robots can call their own, the fierce and strained relationship between the two sides explodes into an outbreak of violence echoing that of 1981.
A new brand of candies called Bilar ("Cars") was introduced to the stands and candy shelves of Finnish markets. Director Sam Shingler and advertising agency Family had together worked up a concept for the launch: the idea was to produce a series of interviews of other finnish candies and record their reactions and opinions about the newcomers in documentary Creature Comforts style.
