Decoy!

This presentation delivered by medical illustrator and animator David Bolinsky is by no means new (it was posted on the TED site back in July), but I’m guessing most of you haven’t seen it yet. Even if you have seen it, David’s attitude towards his job is refreshing and worth repeat viewing. For him, animation is a means of exposing “truth and beauty” to the masses—or at least to larger numbers of people than elite groups of scientists and researchers.

He explains, “I wanted to figure out a way to help people understand truth and beauty in the biological sciences by using animation, by using pictures, by telling stories so that the things that are not necessarily evident to people can be brought forth and can be taught and can be understood.”

The impulse to explain things by using animation and “telling stories” may seem like an obvious choice for you. It’s your lifeblood, after all. You eat, drink and sleep visual storytelling. But to the rest of the world, what you do as a designer or animator can often feel like a revelation, like a gigantic light bulb suddenly illuminating an immense cavern of knowledge.

That’s a great feeling, isn’t it?

It doesn’t matter if you’re selling shoes or solving world hunger, telling stories through animation is a deeply human act, one that transcends the rational compartmentalization we often use to make sense of our world. Animation instead opts for a holistic presentation of reality—or an idealized version of reality—that resonates as much with our hearts as it does our minds.

Blind Launches a new site with loads of work

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A funny and slightly disturbing animated series from Japan

Juno titles from Shadowplay

I know Motionographer seems like a Psyop love-fest sometimes, but when one studio creates so much diverse, beautiful, intelligent work, they’re going to get a lot of public love from me. And their latest project for Adidas is only grounds for further love.

Working with agency TBWA/China, Psyop created a campaign built around the elegantly simple concept of Olympians being supported by their fellow countrymen—literally. Technically, there’s much more than meets the eye in “Together,” the anthem spot for the four-spot campaign, but Psyop never lets the mechanics upstage the beautiful simplicity of the underlying idea.

Here’s a little Q&A from the press release:

1. What was the creative brief from the client/agency?
The brief from the agency was to create a poetic, sophisticated, and awe inspiring Olympics campaign that embraces the idea of “impossible is nothing” for the people of China.

With the agency, we created 4 spots in total. The first spot was an anthem called “together”. For this spot, we created a landscape of the nation supporting their athletes. It was important for us to create the intimacy between the supporters and the athletes. We wanted to make sure the fans were not seen just as the masses but to feel their emotion of being part of something big.

2. What was the feeling/aesthetic you were going for in creating the spots? Tell me about the creative process.
The aesthetic we were going for was to create something really epic. Not in the loud, over the top kind of way, but something understated, intimate, but big at the same time. This is why we’ve wanted to create the world of live action mixed with pencil. It seemed like the right mix of mediums to shape our campaign because of the blend of live action, for the athlete’s recognizability and human emotion, along with pencil, which has a softer delicate quality, creates a look that is quite unique.

But with this mixture of techniques, we faced many challenges. We had a lot of work ahead of us. First off, we spend weeks preparing for our shoot in Beijing by previsualizing all the spots. Because the mixture of live action and animation needed to be absolutely integrated, we have to plan out all our shots so that we were very well prepared. We then flew to Beijing to shoot the athletes over the course of 6 weeks.

The biggest challenge that we faced was to create the right mixture of live action and pencil. We wanted to avoid the dizzying look of simply a pencil filtered video effect, as in a A-Ha video of the 80s. The clients felt the emotions and facial expressions were very important to them so we wanted the look not to distract from the human emotion and the story. By having too much activity of hand drawn lines, we were losing focus. The delicate balance of all of these things was our greatest challenge. For us, we feel the technique pushes our boundaries of “impossible is nothing”

3. When did the job award?
The job awarded on June 1st.

4. How many people worked on the spots?
Total, we had about 65 people working on the spots—from 3D to roto to compositing, to tracking—you name it, we used it.

5. What tools/programs were used in the production?
Principally we used XSI, Maya, Massive, After Effects, and Flame.

6. Did you face any challenges creatively?
The main challenge was really figuring out a way to create the look. We had made these beautiful styleframes, and then we had to figure out how to make them move.

Hence, a 3 month research and development process and the help of countless compositors, and our collaborators, Boolab, in Barcelona. Finally, we hit upon a solution that incorporated composite techniques with hand drawn cell animation, and we had our look.

7. Anything else we should know?
Just that this was one of the most challenging and satisfying experiences of our careers. Despite all the work, we were actually sad that it was over, but at least we had some amazing pieces to show for it.

Watch “Together” | Full credits

EDIT:At the agency’s request, I updated the video with a slightly different edit.

Finemaker is the portfolio of Polish Motion Designer Wojtek Szklarski, and fine it is