Animal Logic Penicilled in at AWARD Awards
Animal Logic was recognized with two Silver Pencils and a Bronze Pencil at the AWARD Awards (Australasian Writers and Art Directors Assn.) on Nov. 11 at Wharf 8 in Sydney’s Pyrmont. Meanwhile, Cutting Edge, won a Bronze for computer-generated work on BUTTERFLIES (Australian Rugy Union).
Animal Logic won two Silver Pencils for Best Computer Generated Imagery and/or Design and Best Special Effects, respectively, for its work on Carlton Draught’s BIG AD, directed by Paul Middleditch and lensed by Andrew Lesnie, with Andrew Jackson serving as vfx supervisor. The comical BIG AD, which set records when it was downloaded by more than 220,000 people in its first 24 hours of being online in July this year, rated highly with the judges overall winning Gold Pencils for Copywriting as well as the coveted Best Ad over 30 Seconds. It also won Silver Pencils for Direction and Best Use of Existing Music, and a Bronze Pencil for Cinematography. Fosters, the owners of Carlton Draught, won Client of the Year.
Animal Logic created 3D computer-generated human extras for all the large, aerial crowd shots, clothed them in flowing robes and then brought them into Massive, the award-winning AI-driven crowd simulation software from Massive Software.
Animal Logic was also awarded a Bronze Pencil for its computer-generated work on the high-octane CAMRY KNIVES. The commercial was also awarded Bronze Pencils for Direction, Editing and Sound Design.
Animal Logic (www.animallogic.com) is a digital production company based in Sydney, Australia. Established in 1991 as a design-based visual effects house for television commercials, the company soon broadened its creative platform to include visual effects and digital animation for film and television series. Animal Logic’s visual effects credits for feature film include HERO, HOUSE OF FLYING DAGGERS, MATRIX: RELOADED, THE MATRIX and MOULIN ROUGE. Recent television commercial credits include Baz Luhrmann’s commercial for Chanel No. 5, starring Nicole Kidman and Visa BIRDS starring Richard Gere. Animal Logic is also responsible for designing and building the 3D environments that feature as part of Cartoon Network’s on-air look.
Animal Logic won two Silver Pencils for Best Computer Generated Imagery and/or Design and Best Special Effects, respectively, for its work on Carlton Draught’s BIG AD, directed by Paul Middleditch and lensed by Andrew Lesnie, with Andrew Jackson serving as vfx supervisor. The comical BIG AD, which set records when it was downloaded by more than 220,000 people in its first 24 hours of being online in July this year, rated highly with the judges overall winning Gold Pencils for Copywriting as well as the coveted Best Ad over 30 Seconds. It also won Silver Pencils for Direction and Best Use of Existing Music, and a Bronze Pencil for Cinematography. Fosters, the owners of Carlton Draught, won Client of the Year.
Animal Logic created 3D computer-generated human extras for all the large, aerial crowd shots, clothed them in flowing robes and then brought them into Massive, the award-winning AI-driven crowd simulation software from Massive Software.
Animal Logic was also awarded a Bronze Pencil for its computer-generated work on the high-octane CAMRY KNIVES. The commercial was also awarded Bronze Pencils for Direction, Editing and Sound Design.
Animal Logic (www.animallogic.com) is a digital production company based in Sydney, Australia. Established in 1991 as a design-based visual effects house for television commercials, the company soon broadened its creative platform to include visual effects and digital animation for film and television series. Animal Logic’s visual effects credits for feature film include HERO, HOUSE OF FLYING DAGGERS, MATRIX: RELOADED, THE MATRIX and MOULIN ROUGE. Recent television commercial credits include Baz Luhrmann’s commercial for Chanel No. 5, starring Nicole Kidman and Visa BIRDS starring Richard Gere. Animal Logic is also responsible for designing and building the 3D environments that feature as part of Cartoon Network’s on-air look.
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