Category Archives: Animation

Behind the Title: Artist/Creative Director Barton Damer

NAME: Barton Damer

COMPANY: Dallas-based  Already Been Chewed

CAN YOU DESCRIBE YOUR COMPANY?
AlreadyBeenChewed is a boutique studio that I founded in 2010. We have created a variety of design, motion graphics and 3D animated content for iconic brands, including Nike, Vans, Star Wars, Harry Potter and Marvel Comics. Check out our motion reel.

WHAT’S YOUR JOB TITLE?
Owner/Founding Artist/Creative Director

WHAT DOES THAT ENTAIL?
My job is to set the vibe for the types of projects, clients and style of work we create. I’m typically developing the creative, working with our chief strategy officer to land projects and then directing the team to execute the creative for the project.

WHAT WOULD SURPRISE PEOPLE ABOUT WHAT FALLS UNDER THAT TITLE?
When you launch out on your own, it’s surprising how much non-creative work there is to do. It’s no longer good enough to be great at what you do (being an artist). Now you have to be excellent with communication skills, people skills, business, organization, marketing, sales and leadership skills. It’s surprising how much you have to juggle in the course of a single day and still hit deadlines.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Developing a solution that will not only meet the clients needs but also push us forward as a studio is always exciting. My favorite part of any job is making sure it looks amazing. That’s my passion. The way it animates is secondary. If it doesn’t look good to begin with, it won’t look better just because you start animating it.

WHAT’S YOUR LEAST FAVORITE?
Dealing with clients that stress me out for various reasons —whether it’s because they are scope creeping or not realizing that they signed a contract… or not paying a bill. Fortunately, I have a team of great people that help relieve that stress for me, but it can still be stressful knowing that they are fighting those battles for the company. We get a lot of clients who will sign a contract without even realizing what they agreed to. It’s always stressful when you have to remind them what they signed.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Night time! That’s when the freaks come out! I do my best creative at night. No doubt!

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Real estate investing/fixing up/flipping. I like all aspects of designing, including interior design. I’ve designed and renovated three different studio spaces for Already Been Chewed over the last seven years.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I blew out my ACL and tore my meniscus while skateboarding. I wanted to stay involved with my friends that I skated with knowing that surgery and rehab would have me off the board for at least a full year. During that time, I began filming and editing skate videos of my friends. I quickly discovered that the logging and capturing of footage was my least favorite part, but I loved adding graphics and motion graphics to the skate videos. I then began to learn Adobe After Effects and Maxon Cinema 4D.

At this time I was already a full-time graphic designer, but didn’t even really know what motion graphics were. I had been working professionally for about five or six years before making the switch from print design to animation. That was after dabbling in Flash animations and discovering I didn’t want to do code websites (this was around 2003-2004).

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
We recently worked with Nike on various activations for the Super Bowl, March Madness and got to create motion graphics for storefronts as part of the Equality Campaign they launched during Black History Month. It was cool to see our work in the flagship Niketown NYC store while visiting New York a few weeks ago.

We are currently working on a variety of projects for Nike, Malibu Boats, Training Mask, Marvel and DC Comics licensed product releases, as well as investing heavily in GPUs and creating 360 animated videos for VR content.

HOW DID THE NIKE EQUALITY MOTION GRAPHICS CAMPAIGN COME TO FRUITION?
Nike had been working on a variety of animated concepts to bring the campaign to life for storefronts. They had a library of animation styles that had already been done that they felt were not working. Our job was to come up with something that would benefit the campaign style.

We recreated 16 athlete portraits in 3D so that we could cast light and shadows across their faces to slowly reveal them from black and also created a seamless video loop transitioning between the athlete portraits and various quotes about equality.

CAN YOU DESCRIBE THE MOTION GRAPHICS SCOPE OF THE NIKE EQUALITY CAMPAIGN, AND THE SOFTWARE USED?
The video we created was used in various Nike flagship stores — Niketown NYC, Soho and LA, to name a few. We reformatted the video to work in a variety of sizes. We were able to see the videos at Niketown NYC where it was on the front of the window displays. It was also used on large LED walls on the interior as well as a four-story vertical screen in store.

We created the portrait technique on all 16 athletes using Cinema 4D and Octane. The remainder of the video was animated in After Effects.

The portraits were sculpted in Cinema 4D and we used camera projection to accurately project real photos of the athletes onto the 3D portrait. This allowed us to keep 100 percent accuracy of the photos Nike provided, but be able to re-light and cast shadows accordingly to reveal the faces up from black.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
That’s a tough one. Usually, it’s whatever the latest project is. We’re blessed to be working on some really fun projects. That being said… working on Vans 50th Anniversary campaign for the Era shoe is pretty epic! Especially since I am a long time skateboarder.

Our work was used globally on everything from POP displays to storefronts to interactive Website takeover and 3D animated spots for broadcast. It was amazing to see it being used across so many mediums.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
A computer, my iPhone and speakers!

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I’m very active on Instagram and Facebook. I chose to say “no” to Snapchat in hopes that it will go away so that I don’t have to worry about one more thing (he laughs), and twitter is pretty much dead for me these days. I log in once a month and see if I have any notifications. I also use Behance and LinkedIn a lot, and Dribbble once in a blue moon.

DO YOU LISTEN TO MUSIC WHILE YOU WORK? IF SO, WHAT KIND?
My 25-year-old self would cyber bully me for saying this but soft Drake is “Too Good” these days. Loving Travis Scott and Migos among a long list of others.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
First I bought a swimming pool to help me get away from the computer/emails and swim laps with the kids. That worked for a while, but then I bought a convertible BMW to try to ease the tension and enjoy the wind through my hair. Once that wore off and the stress came back, I bought a puppy. Then I started doing yoga. A year later I bought another puppy.

Behind the Title: Director/Designer Ash Thorp

NAME: Ash Thorp (@ashthorp)

COMPANY: ALT Creative, Inc.

CAN YOU DESCRIBE YOUR COMPANY?
ALT Creative is co-owned by my wife Monica and myself. She helps coordinate and handle the company operations, while I manage the creative needs of clients. We work with a select list of outside contractors as needed, mainly depending on the size and scale of the project.

WHAT’S YOUR JOB TITLE?
I fulfill many roles, but if I had to summarize I would say I most commonly am hired for the role of director or designer.

WHAT DOES THAT ENTAIL?
Directing is about facilitating the team to achieve the best outcome on a given project. My ability to communicate with and engage my team toward a visionary goal is my top priority as a director. As a designer, I look at my role as an individual problem solver. My goal is to find the root of what is needed or requested and solve it using design as a mental process of solution.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I believe that directing is more about communication and not how well you can design, so many would be surprised by the amount of time and energy needed outside of “creative” tasks, such as emails, critiques, listening, observation and deep analysis.

WHAT’S YOUR FAVORITE PART OF THE JOB?
As a director, I love the freedom to expose the ideas in my mind to others and work closely with them to bring them to life. It’s immensely liberating and rewarding.

WHAT’S YOUR LEAST FAVORITE?
Redundancy often eats up my ambitions. Instructing my vision repeatedly to numerous teammates and partners can be taxing on my subconscious at times.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
The late evening because that is often when I have my mind to myself and am free of outside world distractions and noise.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Nothing. I strongly believe that this is what I was put on earth to do. This is the path I have been designed and focused on since I was a child.

SO YOU KNEW EARLY ON THIS WOULD BE YOUR PATH?
I grew up with a very artistic family; my mother’s side of the family displays creative traits in one media or another. They were and still are all very deeply committed to supporting me in my creative endeavors. Based on my upbringing, it was a natural progression to also be a creative person.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
As for client projects that are publicly released, I most recently worked on the Assassin’s Creed feature film and Call of Duty: Infinite Warfare video game.

For my own projects, I designed and co-directed a concept short for Lost Boy with Anthony Scott Burns. In addition, I released two personal projects: None is a short expression film devised to capture a tone and mood of finding oneself in a city of darkness, and Epoch
is an 11-minute space odyssey that merges my deep love of space and design.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
With Epoch being the most recently released project, I have received so many kind and congratulatory correspondences from viewers about how much they love the film. I am very proud of all the hard work and internal thought, development and personal growth it took to build this project with Chris Bjerre. I believe Epoch shows who I truly am, and I consider it one of the best projects of my personal career to date.

WHAT SOFTWARE DID YOU RELY ON FOR EPOCH?
We used a pretty wide spectrum of tools. Our general production tool kit was comprised of Adobe Photoshop for images and stills, texture building and 2D image editing; Adobe Bridge for reviewing frames and keeping a clear vision of the project; Adobe Premiere for editing everything from the beginning animatic to the final film; and, of course, our main staple in 3D was Maxon Cinema 4D, which we used to construct all of the final scenes and render everything using Octane Renderer.

We used Cinema 4D for everything — from building shots for the rough animatic to compiling entire scenes and shots for final render. We used it to animate the planets, moons, orbits, lights and the Vessel. It really is a rock-solid piece of software that I couldn’t imagine trying to build a film like Epoch without it. It allowed us to capture the animations, look, lighting and shots seamlessly from the project’s inception.

WHAT WAS YOUR INSPIRATION FOR THIS WORK?
I am personally inspired by so many things. Epoch was a personal tribute to Stanley Kubrick’s 2001: A Space Odyssey, Alien, Carl Sagan, my love of space and space travel, classical sci-fi art and literature, and my personal love of graphic design all combined into one. We put tremendous effort into Epoch to pay proper homage to these things, yet also invite a new audience to experience something uniquely new. We hope you all enjoyed it!

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
The Internet, computers and physical traveling devices (like cars, planes).

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I try and limit my time spent on social media, but I have two Facebooks, Instagram, Twitter and a Behance account.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
I frequently listen to music while I work as it helps me fall deep into my mentally focused work state of mind. The type of music varies as some genres work better than others because they trigger different emotions for different tasks. When I am in deep thought, I listen to composers that have no lyrics in their work that may pull away my mind’s focus. When I am doing ordinary tasks or busy work, I listen to anything from heavy metal to drum and bass. The scale of music really varies for me as it’s also often based on my current mood. Music is a big part of my workday and my life.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I actually let the stress in and let it shape my decision making. I feel if I run away from it or unwind my mind, it takes double the effort to go back in to work. I embrace it as being a part of the high consumption industry in which I have chosen to work. It’s not always ideal and is often very demanding, but I often let it be the spark of the fire of my work.

Dell 6.15

Digging Deep: Helping launch the OnePlus 3T phone

By Jonathan Notaro

It’s always a big deal when a company drops a new smartphone. The years of planning and development culminate in a single moment, and the consumers are left to judge whether or not the new device is worthy of praise and — more importantly — worthy of purchase.

For bigger companies like Google and Apple, a misstep with a new phone release can often amount to nothing more than a hiccup in their operations. But for newer upstarts like OnePlus, it’s a make or break event. When we got the call at Brand New School to develop a launch spot for the company’s 3T smartphone, along with the agency Carrot Creative, we didn’t hesitate to dive in.

The Idea
OnePlus has built a solid foundation of loyal fans with their past releases, but with the 3T they saw the chance to build their fanbase out to more everyday consumers who may not be as tech-obsessed as their existing fans. It is an entirely new offering and, as creatives, the chance to present such a technologically advanced device to a new, wider audience was an opportunity we couldn’t pass up.

Carrot wanted to create something for OnePlus that gave viewers a unique sense of what the phone was capable of — to capture the energy, momentum and human element of the OnePlus 3T. The 3T is meant to be an extension of its owner, so this spot was designed to explore the parallels between man and machine. Doing this can run the risk of being cliché, so we opted for futuristic, abstract imagery that gets the point across effectively without being too heavy handed. We focused on representing the phone’s features that set it apart from other devices in this market, such as its powerful processor and its memory and storage capabilities.

How We Did It
Inspired by the brooding, alluring mood reflected in the design for the title sequence of The Girl With the Dragon Tattoo, we set out to meld lavish shots of the OnePlus 3T with robotically-infused human anatomy, drawing up initial designs in Autodesk Maya and Maxon Cinema 4D.

When the project moved into the animation phase, we stuck with Maya and used Nuke for compositing. Type designs were done in Adobe Illustrator and animated in Adobe After Effects.

Collaboration is always a concern when there are this many different scenes and moving parts, but this was a particular challenge. With a CG-heavy production like this, there’s no room for error, so we had to make sure that all of the different artists were on the same page every step along the way.

Our CG supervisor Russ Wootton and technical director Dan Bradham led the way and compiled a crack team to make this thing happen. I may be biased, but they continue to amaze me with what they can accomplish.

The Final Product
The project was two-month production process. Along the way, we found that working with Carrot and the brand was a breath of fresh air, as they were very knowledgeable and amenable to what we had in mind. They afforded us the creative space to take a few risks and explore some more abstract, avant-garde imagery that I felt represented what they were looking to achieve with this project.

In the end, we created something that I hope cuts through the crowded landscape of product videos and appeals to both the brand’s diehard-tech-savvy following and consumers who may not be as deep into that world. (Check it out here.)

Fueled by the goal of conveying the underlying message of “raw power” while balancing the scales of artificial and human elements, we created something I believe is beautiful, compelling and completely unique. Ultimately though, the biggest highlight was seeing the positive reaction the piece received when it was released. Normally, reaction from consumers would be centered solely on the product, but to have the video receive praise from a very discerning audience was truly satisfying.


Jonathan Notaro is a director at Brand New School, a bicoastal studio that provides VFX, animation and branding. 


Alkemy X adds creative director Geoff Bailey

Alkemy X, which offers live-action production, design, high-end VFX and post services, has added creative director Geoff Bailey to its New York office, which has now almost doubled in staff. The expansion comes after Alkemy X served as the exclusive visual effects company on M. Night Shyamalan’s Split.

Alkemy X and Bailey started collaborating in 2016 when the two worked together on a 360 experiential film project for EY (formerly Ernst & Young) and brand consultancy BrandPie. Bailey was creative director on the project, which was commissioned for EY’s Strategic Growth Forum held in Palm Desert, California, last November. The project featured Alkemy X’s live-action, VFX, animation, design and editorial work.

“I enjoy creating at the convergence of many disciplines and look forward to leveraging my branding knowledge to support Alkemy X’s hybrid creation pipeline — from ideation and strategy, to live-action production, design and VFX,” says Bailey.

Most recently, Bailey was a creative director at Loyalkaspar, where he creatively led the launch campaign for A&E’s Bates Motel. He also served as creative director/designer on the title sequence for the American launch of A&E’s The Returned, and as CD/director on a series of launch spots for the debut of Vice Media’s TV channel Viceland.

Prior to that, Bailey freelanced for several New York design firms as a director, designer and animator. His freelance résumé includes work for HBO, Showtime, Hulu, ABC, Cinemax, HP, Jay-Z, U2, Travel Channel, Comedy Central, CourtTV, Fuse, AMC Networks, Kiehl’s and many more. Bailey holds an MFA in film production from Columbia University.


Behind the Title: Audiomotion managing director Brian Mitchell

NAME: Brian Mitchell

COMPANY: Oxford, UK-based Audiomotion

CAN YOU DESCRIBE YOUR COMPANY?
Audiomotion has been around nearly 20 years, providing motion-captured character animation to video games, film, TV and a whole host of other applications.

WHAT’S YOUR JOB TITLE?
Managing Director

WHAT DOES THAT ENTAIL?
The job consists of many disciplines. All the usual forecasting and planning requirements, working closely with the management team to ensure we maintain the quality of service. I also get involved with the day-to-day running of the studio itself when time allows. I enjoy being part of the team especially on location shoots. We have a wide range of regular clients who are based all over the UK, Europe and beyond. I also like to get out and pay them a visit from time to time to maintain the relationship and make sure we’re aware of any new workflows and of any new opportunities for evolving our collaboration.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I’m not sure if it’s a surprise but as a small company we all get to wear several hats, which means there might be an odd occasion when I can sneak off to the workshop and help build some crazy props. Last time it was a full-size “mocap-friendly” helicopter.

WHAT’S YOUR FAVORITE PART OF THE JOB?
The thing that gives me the most pleasure is the wide variety of characters, creatives, sports celebrities and actors that we work with. Whilst on screen the workflow appears very similar, the final results are pretty amazing. I have to say that on most occasions no two shoots are the same.

We have worked with the likes of Liam Neeson, Brian Cox and Andy Sirkis. Sport stars such as Lionel Messi, Gareth Bale and Harry Kane, as well as Robbie Williams, Take That and Will.i.am to name a few, and I have to say that every one of them has been a pleasure to work with. We make it our business to ensure every client, actor and crew are supported and looked after from pre-production through the whole process to delivery and beyond if necessary.

WHAT’S YOUR LEAST FAVORITE?
I would say the admin. Now don’t get me wrong, I love a good spreadsheet, I’m just not a fan of spending lots of time wading through a flood of emails or coming up with answers to this type thing!

From a shoot perspective, packing up from a horse capture location shoot. There’s a lot to do even though the party is over and you never know what you might step in!

WHAT’S YOUR FAVORITE TIME OF THE DAY?
I think for me it has to be first thing in the morning because I can get in early and get the jump on the day. I achieve far more that way.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I constantly have a list of alternative ventures floating around that occasionally get discussed over a beer with friends. I’m sure I would pick one of these to develop into something. There’s no shortage of ideas and opportunity, just a lack of time.

Liam Neeson, on set.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I had no idea until the opportunity presented itself some time back. I had shared the running of the company with one Mr. Michael Morris since 2003. Now I’m flying solo.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
A Monster Calls, which opened in the US in October, 2016, was a great production to be a part of. We had Liam Neeson in the studio for two weeks and he was great to work with. There’s a real buzz when everything is in full swing: streaming realtime characters on screen and having the director, JA Bayona, exploring the virtual world with the virtual camera.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT?
Our in-house tracking software is very cool, my damn phone is a love-hate relationship, although I’d be lost without it, and the Bluetooth in the car makes life easy.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
The “usual suspects” — LinkedIn, Twitter and a little bit of Facebook

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
The tunes get cranked up during studio set-ups and location shoots, and my dancin’ trousers get pulled on for an after party. Other than that, I resort to an audio book in the car, which has become commonplace.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I enjoy a spot of golf now and again, and heading off to the coast as much as possible. I play FIFA with my 11-year-old son who beats me every time! I’m quite fond of a charity run followed by a charity beer. Happy days.


The A-List: Lego Batman Movie director Chris McKay

By Iain Blair

Three years ago, The Lego Movie became an “everything is awesome” monster hit that cleverly avoided the pitfalls of feeling like a corporate branding exercise thanks to the deft touch and tonal dexterity of the director/writer/animator/producer team of Phil Lord and Christopher Miller.

Now busy working on a Han Solo spinoff movie, they handed over the directing reins on the follow-up, The Lego Batman Movie, to Chris McKay, who served as animation director and editor on the first one. And he hit the ground running on this one, which seriously — and hilariously — tweak’s Batman’s image.

Chris McKay

This time out, Batman stars in his own big-screen adventure, but there are big changes brewing in Gotham City. If he wants to save the city from The Joker’s hostile takeover, Batman may have to drop the lone vigilante thing, try to work with others and maybe, just maybe, learn to lighten up (somber introspection only goes so far when you’re a handsome billionaire with great cars and gadgets, who gets to punch people in the face with no repercussions).

Will Arnett voices Batman, Zach Galifianakis is The Joker, Michael Cera is orphan Dick Grayson, Rosario Dawson is Barbara Gordon, and Ralph Fiennes voices Alfred.

Behind the scenes, production designer Grant Freckelton and editor David Burrows also return from The Lego Movie, joined by editors Matt Villa and John Venzon. Lorne Balfe was composer, and feature animation was, again, by Animal Logic. The Warner Bros. film was released in 3D, 2D and IMAX.

I recently talked to McKay about making the film and how the whole process was basically all about the post.

The Lego Movie made nearly half a billion dollars and was a huge critical success as well. Any pressure there?
(Laughs) A lot, because of all that success, and asking, “How do we top it?” Then it’s Batman, with all his fans, and DC is very particular as he’s one of their crown jewels. But at the same time, the studio and DC were great partners and understood all the challenges.

So how did you pitch the whole idea?
As Jerry Maguire, directed by Michael Mann, with a ton of jokes in it. They got on board with that and saw what I was doing with the animatic, as well as the love I have for Batman and this world.

Once you were green-lit, you began on post, right?
Exactly right, because post is everything in animation. The whole thing is post. You start in post and end in post. When we pitched this, we didn’t even have a script, just a three- to four-page treatment. They liked the idea and said, “OK, let’s do it.” So we needed to write a script, and get the storyboard and editorial teams to work immediately, because there was no way we could get it finished in time if we didn’t.

It was originally scheduled to come out in May — almost three years from the time we pitched it, but then they moved the release date up to February, so it got even crazier. So we began getting all the key people involved, like [editor/writer] Dave Burrows at Animal Logic, who cut the first one with me, and developing the opening set piece.

You got an amazing cast, including Will Arnett as Batman again, and such unlikely participants as Mariah Carey, Michael Cera, Ralph Fiennes and Apple’s Siri. How tough was that?
We were very lucky because everyone was a fan, and when they saw that the first one wasn’t just a 90-minute toy commercial, they really wanted to be in it. Mariah was so charming and funny, and apart from her great singing voice, she has a really great speaking voice — and she was great at improv and very playful. Ralph has done some comedy, but I wasn’t sure he’d want to do something like this, but he got it immediately, and his voice was perfect. Michael Cera doesn’t do this kind of thing at all. Like Ralph, he’s an artist who usually does smaller movies and more personal stuff, and people told us, “You’re not going to get Ralph or Cera,” but Will reached out to Cera (they worked together on Arrested Development) and he came on.

As for Siri, it was a joke we tried to make work in the first movie but couldn’t, so we went back to it, and it turned into a great partnership with Apple. So that was a lot of fun for me, playing around with pop culture in that way, as the whole computer thing is part of Batman’s world anyway.

Phil Lord and Chris Miller have been very busy directing the upcoming, untitled Han Solo Star Wars movie, but as co-producers on this weren’t they still quite involved?
Very. I’d ask them for advice all the time and they would give notes since I was running a lot of stuff past them. They ended up writing several of my favorite lines in this; they gave me so much of their time, pitched jokes and let me do stuff with the animation I wanted to do. They’re very generous.

Sydney-based Animal Logic, the digital design, animation and effects company whose credits include Moulin Rouge!, Happy Feet and Walking With Dinosaurs did all the animation again. What was involved?
As I wanted to use Burrows, that would require us having an editorial team down there, and the studio wasn’t crazy about that. But he’s a fantastic editor and storyteller, and I also wanted to work with Grant Freckelton, who was the production designer on the first one, as well as lighting supervisor Craig Welch — all these team members at Animal Logic who were so good. In the end, we had over 400 people working on this for two and a half years — six months faster than the first one.

So Animal Logic began on it on day one, and I didn’t wait for a script. It was just me, Dave and the storyboard teams in LA and Sydney, and Grant’s design team. I showed them the treatment and said, “Here’s the scenes I want to do,” and we began with paintings and storyboards. The first act in animatic form and the script both landed at the same time in November 2014, and then we pitched where the rest of the movie would go and what changes we would make. So it kept going in tandem like that. There was no traditional screenwriting process. We’d just bring writers in and adjust as we went. So we literally built the screenplay in post — and we could do that because animation is like filmmaking in slow motion, and we had great storytellers in post, like Burrows.

You also used two other editors — Matt Villa and John Venzon. How did that work?
Matt’s very accomplished. He’s cut three of Baz Luhrmann’s films — The Great Gatsby, Moulin Rouge! and Australia — and he cut Russell Crowe’s The Water Diviner as well as
the animated features Happy Feet Two and Legend of the Guardians: The Owls of Ga’Hoole, so he came in to help. We also brought in other writers, and we would all be doing the voices. I was Batman and Matt would do the side characters. We literally built it as we went, with some storyboard artists from the first film, plus others we gathered along the way. The edit was crucial because of the crazy deadline.

Last summer we added John, who has also cut animated features, including Storks, Flushed Away, Shark Tale and South Park: Bigger, Longer and Uncut, because we needed to move some editorial to LA last July for five months, and he helped out with all the finishing. It was a 24/7 effort by that time, a labor of love.

Let’s talk about the VFX. Fair to say the whole film’s one big VFX sequence?
You’re right. Every single frame is a VFX shot. It’s mind blowing! You’re constantly working on it at the same time you’re writing and editing and so on, and it takes a big team of very focused animators and producers to do it.

What about the sound and music? Composer Lorne Balfe did the scores for Michael Bay’s 13 Hours: The Secret Soldiers of Benghazi, the animated features Penguins of Madagascar and Home, as well as Terminator Genisys. How important was the score?
It was crucial. He actually worked on the Dark Knight movies, so I knew he could do all the operatic, serious stuff as well as boy’s adventure stuff for Robin, and he was a big part of making it sound like a real Batman movie. We recorded the score in Sydney and Vienna, and did the mix on the lot at Warners with a great team that included effects mixer Gregg Landaker and sound designer Wayne Pashley from Big Bang Sound in Sydney.

Did the film turn out the way you hoped?
I wish we had those extra two months, but it’s the movie I wanted to make — it’s good for kids and adults, and it’s a big, fun Batman movie that looks at him in a way that the other Batman movies can’t.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.


Project Arachnid short targets online images of child sexual abuse

Early this year, the Canadian Centre for Child Protection (CCCP) launched Project Arachnid, a new tool that detects and helps remove images of child sexual abuse on the Internet. The centre, which operates in partnership with police forces across Canada, recently posed questions to 128 adults who had been sexually exploited as children and whose abuse had been recorded on camera. Almost three-quarters of respondents said they were worried about being recognized years later, because the images continue to spread online.

To bring to life how Project Arachnid helps victims break the endless cycle of abuse, the organization enlisted agency No Fixed Address and Nice Shoes Creative Studio to craft a brief, but powerful animated short film that features a B&W hand-drawn look.

“It was very important to us to find a way to reflect the gravity of the matter, but not make people look away. We didn’t want the problem to seem insurmountable,” says Shawn James, creative director at No Fixed Address.

Nice Shoes creative directors Gary Thomas and Matt Greenwood, along with design director Stefan Woronko, developed style frames, taking the piece into an illustrative, textured direction inspired by Manga, graphic novels and the work of Frank Miller and Edward Gorey.

As the teams explored the concept, they quickly found they were on the same page, and worked closely to animate the dramatic and powerful story. “We felt the narrative should drive the visuals and presented a solution where only simple animation was needed to emphasize the story,” says Thomas, adding that they were brought in almost from the beginning. “We had reference from the creative team, but we really came back with the look and feel, and worked closely with the team to refine elements.”

Nice Shoes used Adobe Photoshop for all the illustrations in order to get a handmade quality. Everything was assembled in Adobe After Effects. “We composited the scenes and gave it a paper-like, distressed texture,” says Thomas. “We used Maxon Cinema 4D to do the spiders and globe sequences. We had a great character animator, Rob Findlay, come in for a few days and add the animated touches to the characters.”

In terms of challenges, Thomas says the only major one was a quick turnaround of three weeks. “The piece was tied to a big media launch for the CCCP, so we had a firm deadline to work with. It wasn’t really onerous, because we were careful at the outset to do as much as we could at the beginning to make sure the creatives at No Fixed Address were part of the process, and they in turn were able to keep their clients at CCCP in the loop.”

FMPX8.14
Photo: Mike Scott

Behind the Title: Flaunt executive producer Andrew Pearce

NAME: Andrew Pearce

COMPANY: Flaunt Productions (@flauntanimation)

CAN YOU DESCRIBE YOUR COMPANY?
Flaunt is a Scottish studio that creates high-quality animation for features, TV, commercials and games. Flaunt is part of the Axis group, which is made up of three collaborating studios with distinct goals, strategies and talent bases.

WHAT’S YOUR JOB TITLE?
Executive Producer

WHAT DOES THAT ENTAIL?
As EP, I’m one of the first points of contact in the studio. That means attending events, making new relationships, talking to clients and creatives and pitching and planning projects. My next trip is to Kidscreen Miami in February.

The EPs take the “thousand-foot-view” of projects. First, that’s about helping to assemble the right team and working with the director to develop creative and story. Then it’s about making a solid plan. When a producer takes over, it’s about ensuring that we’re exceeding clients’ expectations, and following the studio’s general strategy.

PHOTO: MIKE SCOTT

Flaunt headquarters. Photo: Mike Scott

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
How much we have to adapt to the changing market. There are no right answers to where we place our efforts; it’s a tricky combination of research, intuition, creativity and strategy.

WHAT’S YOUR FAVORITE PART OF THE JOB?
The magic part! When the team comes up with something brilliant. Everyone knows when you’ve got something special, be that a design, a piece of music, an iconic performance or a beautiful shot.

I would also say the sense of excitement: since starting at Axis seven years ago, there has always been a feeling that anything is possible. The founders continue to be supportive of artists and producers who’re keen to push the envelope.

WHAT’S YOUR LEAST FAVORITE?
So much to do, so little time. We see a million opportunities, both in creative and market terms. Our main impediment to trying everything is lack of time and people to explore.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Random meeting time! There is no set time, but it’s often at the lunch table. We have around 150 people in the studio right now and are planning to peak at 200 mid-year. So there are lots of opportunities for meeting interesting folks and hearing new things.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
A lot of our games clients have great companies — I would love to be part of the casual games explosion.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I think that for the most part, the profession chose me. I’ve always been keen on business development and strategy. I guess after about three years in the industry my path became clear.

Lost in Oz

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
We’ve just wrapped up a second feature for Mattel’s Monster High brand, and we are looking forward to the release in spring. Season One of Amazon Studios’ series Lost in Oz is in production now, for which we’re taking care of design and art direction. Our current production is a super-high quality series, about 80 minutes, due for release in summer. We are doing design and animation for the BBC show Dixi and television commercials for Goodgame’s Goodgame Empire.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
Almost every project has some aspect that stood out, but I’d pick our Monster High features. We worked closely with Mattel to create a fresh, bold interpretations of the new toy line. The challenge was in retaining the iconic look of the characters, while updating them to better suit animation.

Mattel was aligned with our goal to create fun stories, packed with humor and charm. The characters weren’t just dolls; we created real, breathing characters that could connect emotionally with kids. Watch out for our making-of video later this month.

Monsters High

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
I’ll go for three research tools here, all of which I use daily: LinkedIn, IMDB and Vimeo.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Vimeo, LinkedIn, Pinterest and Twitter.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
If I really have to concentrate, I listen to classical music on headphones.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Stupid fun projects that have no deadlines or client expectations — the last one was a wall-mounted Hot Wheels track for my four-year-old, which wraps around his bedroom. I play on it a lot more than he does.


Jim Hagarty Photography

Blue Sky Studios’ Mikki Rose named SIGGRAPH 2019 conference chair

Mikki Rose has been named conference chair of SIGGRAPH 2019. Fur technical director at Greenwich, Connecticut-based Blue Sky Studios, Rose chaired the Production Sessions during SIGGRAPH 2016 this past July in Anaheim and has been a longtime volunteer and active member of SIGGRAPH for the last 15 years.

Rose has worked on such film as The Peanuts Movie and Hotel Transylvania. She refers to herself a “CG hairstylist” due to her specialization in fur at Blue Sky Studios — everything from hair to cloth to feathers and even vegetation. She studied general CG production at college and holds BS degrees in Computer Science and Digital Animation from Middle Tennessee State University as well as an MFA in Digital Production Arts from Clemson University. Prior to Blue Sky, she lived in California and held positions with Rhythm & Hues Studios and Sony Pictures Imageworks.

“I have grown to rely on each SIGGRAPH as an opportunity for renewal of inspiration in both my professional and personal creative work. In taking on the role of chair, my goal is to provide an environment for those exact activities to others,” said Rose. “Our industries are changing and developing at an astounding rate. It is my task to incorporate new techniques while continuing to enrich our long-standing traditions.”

SIGGRAPH 2019 will take place in Los Angeles from July 29 to August 2, 2019.


Main Image: SIGGRAPH 2016 — Jim Hagarty Photography

Chaos Group and Adobe partner for photorealistic rendering in CC

Chaos Group’s V-Ray rendering technology is featured in Adobe’s Creative Cloud, allowing graphic designers to easily create photorealistic 3D rendered composites with Project Felix.

Available now, Project Felix is a public beta desktop app that helps users composite 3D assets like models, materials and lights with background images, resulting in an editable render they can continue to design in Photoshop CC. For example, users can turn a basic 3D model of a generic bottle into a realistic product shot that is fully lit and placed in a scene to create an ad, concept mock-up or even abstract art.

V-Ray acts as a virtual camera, letting users test angles, perspectives and placement of their model in the scene before generating a final high-res render. Using the preview window, Felix users get immediate visual feedback on how each edit affects the final rendered image.

By integrating V-Ray, Adobe has brought the same raytracing technology used by companies Industrial Light & Magic to a much wider audience.

“We’re thrilled that Adobe has chosen V-Ray to be the core rendering engine for Project Felix, and to be a part of a new era for 3D in graphic design,” says Peter Mitev, CEO of Chaos Group. “Together we’re bringing the benefits of photoreal rendering, and a new design workflow, to millions of creatives worldwide.”

“Working with the amazing team at Chaos Group meant we could bring the power of the industry’s top rendering engine to our users,” adds Stefano Corazza, senior director of engineering at Adobe. “Our collaboration lets graphic designers design in a more natural flow. Each edit comes to life right before their eyes.”