Edgeworx recently completed work on a pair of spots for GMC's new SUV, the GMC Envoy. Edgeworx teamed with ad agency Lowe Lintas and Partners and designer Todd St. John of Hunter Gatherer in creating the design and animation of the commercials. "Comforts of Home" and "Relax" feature some of the GMC Engineers responsible for making the Envoy comfortable and safe. The graphic design frames key elements of the spot by placing them in a graphic timeline. Graphics for both spots were created using the Adobe suite of After Effects, Illustrator and Photoshop.
ViewPoint Studios and Las Vegas-based The Merica Agency recently teamed up to create a 3D spot for Cox Communications entitled "Desktop Animal." "The idea started with a direct mail piece to sell Direct Internet Access for Cox Communications," said Scott Robertson, creative director from The Merica Agency. The spot features various herds of animals that look like a computer mouse. "We knew and understood the client's concerns," said Mike Leone, lead animator for ViewPoint Studios.
Director John Adams of Area 51 Films and effects house R!OT have teamed on two new spots for Michelob Light. The ads were conceived by the Chicago creative services and marketing agency Leapnet. The first spot features a young man who makes a wrong turn on the path to romance. The second, more technically challenging spot, features a bottle of beer as a skyscraper. Adams worked with Leapnet's creative team and visual effects artists from R!OT in designing the final scene. The image is an entirely artificial creation composed of 3D elements and a detailed digital matte painting.
FrameStore has wrapped on three new commercials to launch Nintendos latest Game Boy handset, Game Boy Advance. All three commercials were written and produced by agency Leo Burnett of Chicago, and directed by the Vienna-based directing duo, Rad-ish (Moritz and Christophe). FrameStore's SFX artists created three, highly stylized, virtual worlds, which each allude to one of the three new games developed to accompany the new handset. As synthetic snow was banned on the location of "Church," FrameStore created falling and settling snow for the interior shots.
Quiet Man has wrapped a new spot for General Electric's "Artica" refrigerator. The 30-second spot entitled "Artica" shows the new refrigerator in a field, a wine cellar and finally in a kitchen in various locations around the globe. "It was one of those jobs with a tight schedule," said lead visual effects artist Colin Stackpole. "But, it was surprisingly unproblematic, considering the conditions. First, we had to find stock footage over which to composite the refrigerator. By using locked off footage I wouldn't have to worry about changing angles or lighting as everything remains static.
Santa Monica-based R!OT provided visual effects for "This is Where I Came In," the first music video from the Bee Gees CD set of the same name. The video opens with a barrage of single frame images ending in a rec room inside a 60s VW van. The various members of the group pop into and float through the frame at all angles. Henry artist Lisa Tomei created all of the visual effects and finished the video on a Quantel Henry platform.
London-based Loose Moose, producers of the award-winning stop-motion Pepsi-Lipton BRISK tea campaign, has expanded into 2D CGI by joining with the directing duo of Neville Astley and Mark Baker. The team's first spot for Loose Moose was a spot entitled "Cheese Trapeze" for the Kraft Cheese Singles campaign "Working with CelAction 2D software, we have been able to bring a contemporary look to the Kraft Cheese Singles spot using bright colors, highly stylized characters and animation with flavors of Japanimation," Astley said.
FilmCore's Charlie Chubak has wrapped four new spots for the Ford Dealers of Southern California and agency Dailey & Associates. "Head Turner" follows two guys swiveling their heads a full 180-degrees to see a red Ford Mustang. "Out of Focus" follows a blurred human form as it gets out of bed and leaves the house. Only when the character turns the ignition of its Ford Focus does the man come into focus. "Weekends" mixes shots of Ford SUVs with poppy graphics, while "Truck Size" featured no visual enhancement.
TOPIX has recently completed the online and CGI for a 30-second spot promoting Colgate-Palmolive's household cleaner, Fabuloso. Featuring a Carmen Miranda look-alike, "Conga" was developed through ad agency Young & Rubicam (Mexico City, Mexico), and debuted in Mexico and Uruguay in May, with a debut in Panama, Ecuador and Columbia set for June and July. After cleaning her dishes with Fabuloso, a Brazilian bombshell and two trumpet players jump from the clean plates, inspiring Mom, son and the family dog to dance a conga line around the kitchen.
Renegade Animation has wrapped on the main title, bumpers and end title package for THE LOONEY TUNES SHOW, a new series featuring classic Warner Bros. cartoons on Cartoon Network. The cel-animated package features the Looney Tunes gang as the members of a Broadway-style show and slips backstage capturing candid glimpses of the characters. "Cartoon Network brought us wonderful scripts and storyboards and our animators had a lot of fun in executing them," said Renegade Animation executive producer Ashley Postlewaite.
Western Images recently created visual effects for "Twist," and "Wacky Faces," two Nabisco spots directed by Mark Dippe, of Pandemonium, for New Yorks FCB agency. Both spots first aired in May 2001. They feature twisted faces in a fun fruit frenzy that filled a cafeterias air with colorful CGI fruit bits.
TOPIX/Mad Dog completed the Inferno effects and compositing for Life, Canadian rock band Our Ladys Peace first single for their fourth album, Spritual Machines. The video, which made its Canadian debut April 7, 2001, on MUCH MUSIC, has since begun airing in the US on MTV2. TOPIX/Mad Dog created graphics with an Asian flavor, inspired by Kanji characters, a written alphabet common to both China and Japan. They enlisted the assistance of a Chinese calligrapher and created a bed of characters by scanning them into the computer.
Character and visual effects company AurenyA, in association with Fusion Media Group, is creating the cinema title piece for Bruce Willis new production studio, Cheyenne Enterprises LLC. The nearly completed piece has grown to over 150 layers of visual effects, creating a hyper-realistic final product. Using Alias|Wavefronts Maya 3.0, visual effects supervisor Eric Tang and technical director Ron Miller used AurenyAs proprietary character animation software technology, Gesture, in order to model and animate characters with enhanced efficiency and precision.
Ring of Fire completed three 30-second spots, "High Noon," "Day of the Dumpsters" and "Fashion Show, for a Unisys campaign. Ring of Fires gear of tools included: Quantel Henry, Discreet Logic Inferno, Maya, Commotion and Adobe After Effects. "'Day of the Dumpsters' required a wide range of visual effects," remarked Ring of Fire senior post-production producer Casey Conroy. "One of our challenges was to create a CGI building that would sit in the middle of a lone desert landscape.
Creative firm ViewPoint Studios created the new open and program package for Discovery Wings Channels, EXTREME AIR. ViewPoint Studios designer/art director Michael MacKenzie said, Discovery Wings Channel supplied us with some truly amazing footage.
New Yorks Quiet Man recently created visual effects for three 30-second spots for Mike's Hard Lemonade. In each spot, the victim either a lumberjack, a distracted marine biologist or an unfastened construction worker enjoys recovering from a serious accident with a mug of Mike's Hard Lemonade. "There is a great deal of humor in the inappropriate," says Quiet Man creative director and founder Johnnie Semerad about the Monty Python-esque storylines behind the three spots.
Creative firm ViewPoint Studios announced the completion of a promotional campaign for the Court TV series, FORENSIC FILES. The campaign highlights the fascinating investigative process and intriguing stories of forensic specialists. To effectively convey how the science and technology used by forensic specialists works to uncover the truth surrounding crimes, ViewPoint Studio chose to show how an ordinary object could actually be a crucial piece of evidence. They used everyday objects such as a piece of gum, a cigarette butt, a hair and a fly as their focal points.
DMA Animation created the broadcast design package for the Lifetime Network's new television franchise, DANCESPORT CHAMPIONSHIPS. The DanceSport event took place in Monaco, where the world's best dancers met for this international competition. DMA designed a rhythmic flowing show open to highlight the beauty and motion of the dancers. DMA's design package included an open, bumpers and lower thirds along with other ancillary graphic elements, using a combination of live action footage and CGI ribbons. DMA Animation designs for television, film, the Internet and new media.
ATTIK directed and designed the live-action, graphics and an end tag for Periwinkle and In Your Face, a pair of 30-second spots for Philadelphia, Pennsylvanias Earle Palmer Brown and Comcast Corporation. Periwinkle began airing in Pennsylvania, New Jersey, Maryland and the Midwest in mid-April, and In Your Face in mid-May 2001. These are the first two spots in an evolving campaign.
Glassworks, a London post-production house, has recently completed work on a commercial for American car legend Cadillacs new Escalade sports utility vehicle. The commercial showcases Glassworks skills in 3D modeling and animation in some explosive action sequences during a high-speed chase with missiles. The smoke effects were created using Glassworks' own smoke effect plugin which was integrated into Mental Images' Mental Ray. The plugin has the capability of adding an unlimited amount of smoke trails to any 3D scene and can be fine-tuned to create a precise look.
The Ring of Fire creative team has designed and produced a promo package for FOX Sports Net's "Regional Sports Report" that began airing on March 22, 2001. The package was customized for broadcast in 16 different regions. Targeted promos were created for the four main markets -- Southern California, Seattle, the South and Southwest -- which included footage of various athletes from those important regions. Ring of Fire also created a generic version of the promo, which contained generic footage and graphical elements that could easily be changed to identify specific regional teams.
New York visual effects company Quiet Man recently created "Organ Grinder," a 30-second spot featuring a talking monkey. The spot was commissioned by New Yorks Fallon McElliot agency for Conseco Insurance. It first aired April 12, 2001. Quiet Man 3D designer David Shirk got involved in pre-production with a review of camcorder footage of a monkey. Based on footage of the monkeys head and various side views with an emphasis on his jaw and lower face, Shirk constructed a computer model with Realviz Image Modeller and Softimage 3D, later adding fur in Softimage 3D.
Santa Monica, Californias R!OT provided design and visual effects services for the new Eve video, WHO'S THAT GIRL? The video, which is the first from Eve's just released CD SCORPION, places the hip-hop diva, along with an enormous Bengal tiger, into an eerie ice kingdom and several other virtual environments. "In order to achieve perfect integration, most of the compositing needed to be done by hand, with each frame treated as an individual work of art," said compositor Klaus Hansen. Hansen produced a digital matte painting to extend the apartment set.
EyeballNYC has created a new ID package for New York Central, the Metro Channel's new late night show that provides New Yorkers with a daily fix of New York entertainment, gossip, lifestyle and culture. The 100+ element ID package reflects EyeballNYC's distinctive use of rapid-fire still photographs and edgy, flat graphic animation to simulate a typical New Yorker's blurred morning commute. When asked for one, EyeballNYC produced five show opens, with original music, as well as numerous ID elements, bumpers, lower thirds, credit beds and re-opens.
Visual effects studio Rhinoceros Effects has recently finished a new spot for health insurance group Empire Blue Cross/Blue Shield and agency Gotham Inc. Titled Beacon, the spot combines photo-realistic CG with live-action camera moves. The Beacon butterflies that star in the spot required deep work in CG, but shooting the live materials was also very important, said director Harry Dorrington. We shot the room using very slow moves, as well as capturing light sources and background textures.