Tag Archives: animation

Chaos Group and Adobe partner for photorealistic rendering in CC

Chaos Group’s V-Ray’s 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. Now, designers can ideate more naturally as their designs come to life.

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.”

Reel FX hires Chad Mosley as senior designer

Chad Moseley has joined Reel FX as senior designer. Moseley brings with him nearly a decade of experience in motion graphics and design, spanning television, advertising and broadcast promos.

He comes to Reel FX, which has offices in Dallas and Santa Monica, from Starz Entertainment, where he spent two years as a broadcast designer, concepting and executing promotions for original programming on series such as Outlander, Da Vinci’s Demons and Flesh and Bone, including teasers, spots and graphics packages. His work for brands such as Enterprise, Nestle, Purina and Busch Gardens has earned him a Gold American Advertising Award (AAA), a Gold Addy Award and an AAF Best of Digital Award.

Texas native Moseley studied graphic design and 3D animation in Denver. He developed his career at a Texas news channel, handling the video and graphics for the channel’s website. While there he learned post production. He then worked as a video editor/animator at Denver-based ORCC, later relocating to St. Louis to take a position as senior motion graphics/VFX artist at 90 Degrees West. While there, he contributed to post projects from concept through completion for national brands including Anheuser Busch, Enterprise and UPS, among others. An opportunity as an in-house broadcast designer at Starz Entertainment led Moseley back to Denver in 2014, before once again returning to Dallas once again to join the Reel FX team.

Bill Hewes

Behind the Title: Click 3X executive producer Bill Hewes

NAME: Bill Hewes

COMPANY: Click 3X  (@Click3X) in New York City.

CAN YOU DESCRIBE YOUR COMPANY?
We are a digital creation studio that also provides post and animation services.

WHAT’S YOUR JOB TITLE?
I am an executive producer with a roster of animation and live-action directors.

WHAT DOES THAT ENTAIL?
Overseeing everything from the initial creative pitch, working closely with directors, budgeting, approach to a given project, overseeing line producers for shooting, animation and post, client relations and problem solving.

PGIM Prudential

One recent project was this animated spot for a Prudential Global Investment Management campaign.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
Probably that there is no limit to the job description — it involves business skills, a creative sensibility, communication and logistics. It is not about the big decisions, but more about the hundreds of small ones made moment to moment in a given day that add up.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Winning projects.

WHAT’S YOUR LEAST FAVORITE?
Losing projects

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Depends on the day and where I am.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
A park ranger at Gettysburg.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I didn’t choose it. I had been on another career path in the maritime transportation industry and did not want to get on another ship, so I took an entry-level job at a video production company. From day one, there was not a day I did not want to go to work. I was fortunate to have had great mentors that made it possible to learn and advance.

Click it or Ticket

‘Click it or Ticket’ for the National Highway Traffic Safety Administration.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Two animated spots for Prudential Global Investment Management, commercials and a social media campaign for Ford Trucks, and two humorous online animated spots for the NHTSA’s “Click It or Ticket” campaign.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
A few years back, I took some time off and worked with a director for several months creating films for Amnesty International. Oh, and putting a Dodge Viper on a lava field on a mountain in Hawaii.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
The wheel, anesthesia and my iPhone.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
I share an office, so we take turns picking the music selections. Lately, we’ve been listening to a lot of Kamasi Washington, Telemann, J Mascis and My Bloody Valentine.

I also would highly recommend, “I Plan to Stay a Believer” by William Parker and the album, “The Inside Songs” by Curtis Mayfield.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Jeet Kune Do, boxing, Muy Thai, Kali/Escrima, knife sparring, and some grappling. But I do this outside of the office.

The Famous Grouse

Putting The Famous Grouse into CG environs for holiday spots

By Randi Altman

Flaunt Productions in Glasgow teamed up with the Leith Agency on a two-spot campaign for the Scottish blended whisky brand, The Famous Grouse. Heading the effort was director Ben Craig and Flaunt’s head of lighting, Jon Neill — they were tasked with putting the iconic grouse into a CG version of his natural environment for these holiday-themed ads.

The first spot, Perfectly Balanced, was released earlier this month and takes the viewer on a flight through the Scottish Highlands to reveal the Grouse with his chest puffed out and feeling proud of his environment. The second commercial, called Smooth, which aired the week of Black Friday, starts as the camera spins through the snowy Scottish Highlands.

flauntTo create the cinematic photoreal landscape, Neill and some of the team shot drone footage in Glencoe, which allowed real-life textures to be applied to the CG world.

In order to create a realistic grouse, Flaunt applied a feather system based on a fur and procedural shader that gave on organic look to the model. When it came to movement of the body and wing feathers, specific movements had to be animated to give a sense of realistic movement and the personality that is associated with the Famous Grouse.

We reached out to executive producer Andrew Pearce about the project and its workflow…

Photo:Mike Scott

Andrew Pearce

How early did you get involved in the project? Was the agency up for suggestions, or did they already have a specific plan locked in?
Director Ben Craig worked with Flaunt on a creative treatment, based on scripts from The Leith Agency. Their central idea was to bring the much-loved Grouse into his home environment: the epic, sweeping Scottish Highlands. Previously, all ads had been set against an infinite white background. With that in mind, we worked collaboratively with the agency to bring the ads to life.

The first stage after treatment would normally be storyboard. However, because our camera move was so extreme, we felt a 2D animatic would be misleading, so we proceeded straight to previs.

You used drone footage for the Grouse’s environment. How did you go about turning it into CG?
We drove up to the Glencoe ski resort and jumped onto the ski lift to get as high as possible. After a 30-minute walk, we attached a camera to the drone and sent it up into the sky — 360 overlapping stills were taken at three different heights.

We merged the images together to create a 360-panorama and applied this to geometry in Autodesk Maya. From there we rendered out the shot with this background, making creative decisions on what to add or take away. Next, we made simple 3D hills on which to project the images, thus providing parallax and a three-dimensional feel.

Was Maya your main animation software? Did you write your own particle systems off of that? What other tools were used?
Maya was used for animation, Side Effects Houdini for FX, Houdini Mantra for lighting and Nuke for compositing. We also had to write a feather system for the Grouse, which worked inside Houdini.

Can you talk about giving the Grouse personality in the CG world? What about facial (or beak) expressions, and his eyes and movements?
For these adverts, the Grouse was in a real-world environment. With that in mind, we didn’t want to go over the top with cartoony animation. The realism of the Grouse asset wouldn’t support that style, but we needed to give the Grouse some character beyond that of a real one.

Real grouse faces don’t move that much, and we didn’t want to change the anatomy too much. So we used the eyebrows and eyes as much as we could. Our rig also enabled us to exaggerate the shape of the eyes and eyebrows beyond the norm. These subtle anatomical exaggerations were enough for us to push the facial animation enough to engage the viewer.

When it came to the motions of the Grouse, we had to tread a fine line between realistic and anthropomorphic — fans of this brand love how it has moved in previous campaigns. We created various versions of all the actions as we honed in on the motion we wanted. The Grouse’s wink at the end of one of the adverts was the product of many iterations, having explored head tilts, nods, lifts, raised eyebrows and so on.

Before we leave you, anything you would like to add?
We had to strike a balance between a look that was both realistic and magical. This was partly achieved by mashing up some of the most incredible landscapes in Scotland. To augment the magical feel, we added lens flares and camera lens aberrations in the compositing. Subtle pollen particles were also added to give a sense of space as we flew through the environment.

Check out the making of the video here.

Behind the Title: Iloura lead animator Dean Elliott

NAME: Dean Elliott

COMPANY: Iloura (@iloura_vfx)

CAN YOU DESCRIBE YOUR ILOURA?
Based in Melbourne and Sydney, Iloura houses a collective of animation and VFX artists.

WHAT’S YOUR JOB TITLE?
Lead Animator

THE SPONGEBOB MOVIE: SPONGE OUT OF WATER

The SpongeBob Movie: Sponge Out of Water

WHAT DOES THAT ENTAIL?
My role can change depending on the project that I’m working on at the time. On a production with only a small scope for character animation like Mad Max: Fury Road, I will work purely as an animator producing shots for the film, whereas on a larger character-based film like SpongeBob SquarePants I would work as a more traditional lead — helping other animators to hit required notes, communicating direction and working as a sounding board for any performance ideas they may have.

Then on a production like Game of Thrones: Battle of the Bastards, l spent most of my time supervising the complex crowd system we developed to extend the scope of our hero keyframe animation.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
Somehow l seem to have ended up spending a lot of time in the mocap suit over the past 12 months. This isn’t something l had intended, but it does make it a lot easier when l can plan and generate complex performances that would be otherwise very difficult to achieve directing other actors, or purely by keyframing.

HOW LONG HAVE YOU BEEN WORKING IN VFX?
I’ve been working as an animator for over 15 years now at various studios.

HOW HAS YOUR PART OF THE INDUSTRY CHANGED IN THE TIME YOU’VE BEEN WORKING? 
As an animator, I haven’t seen any great advances in the technology we use to do our job. At the end of the day, animators only really have to deal with timing and poses. The biggest change has been the career becoming more accessible as a profession, and it’s been a good one. The tools have leveled the playing field, and now when we look for animators we don’t need to look for traditional art skills like drawing. As long as they understand performance and movement they can produce amazing work.

DID A PARTICULAR FILM INSPIRE YOU ALONG THIS PATH IN ENTERTAINMENT?
Like most people in the industry I had a lot of influences that led me in this direction, but the main film that finally tipped me over was A Bug’s Life. I could see a very strong future for 3D animation watching that film; that was when l thought l could make a career out of a hobby.

DID YOU GO TO SCHOOL FOR ANIMATION?
Not for animation. There were no courses available for animation when l left school. So instead l studied illustration to build my creative skills, and in my spare time researched animation on the Internet and taught myself at home.

WHAT’S YOUR FAVORITE PART OF THE JOB?
I really enjoy the start of each production. Doing motion tests to establish how a character will move and looking at the storyboards or previs for the first time.

WHAT’S YOUR LEAST FAVORITE?
When you’re getting close to the deadline and the schedule becomes more important than reworking the shot because you came up with a better idea for the character.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I’d love to say l would be a pilot. But then again, l spent so much time drawing in school that my grades weren’t very good, so l doubt anyone would have let me fly 50 tons of metal across the sky. (Which is probably best, now that l think of it.)

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
We recently finished production on Underworld 5, and before that we completed the Battle of the Bastards sequence in Season 6, Episode 9 of Game of Thrones.

The Game of Thrones: Battle of the Bastards

WHAT IS THE PROJECT YOU ARE MOST PROUD OF?
I think Game of Thrones: Battle of the Bastards has been the most rewarding. We set out to greatly improve our crowd animation for the sequence, and it’s probably the only project l’ve worked on where the final result looked as good what I had imagined it would be when I started.

WHAT TOOLS DO YOU USE DAY TO DAY?
Along with a number of in-house tools, we rely on Maya day to day for all of our keyframe animation. We have also recently started using Massive for crowds and iPi Motion Capture in a small in-house mocap space.

WHERE DO YOU FIND INSPIRATION?
Many places. It’s very easy to find your way to a lot of very impressive work on the Internet these days. I’m probably most inspired by work in other films, and I follow a lot of illustrators and artists as well.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Leave work and go home.

Behind the Title: Reel FX editor Chris Collins

NAME: Chris Collins
 
COMPANY: Reel FX (@wearereelfx) in Dallas
 
CAN YOU DESCRIBE YOUR COMPANY?
Reel FX is made up of directors, editors, animators, VFX artists, audio engineers and more. We work on everything feature length projects to commercials to VR/360 experiences.

WHAT’S YOUR JOB TITLE?
Editor

WHAT DOES THAT ENTAIL?
What it means to be an editor depends on what kind of editor you ask. If you ask me, the editor is the final director — the person responsible for compiling and composing the hard work of production into a finalized coherent piece of media. Sometimes it’s simple and sometimes there is a lot of creative problem-solving. Sometimes you only cut footage, sometimes you dive into Photoshop, After Effects and other programs to execute a vision. Sometimes there is only one way to make a video work, and sometimes there are infinite ways a piece can be cut. It all depends on the concept and production.

Now with VR, a whole new aspect of editing has opened up by being able to put on a headset and be transported into your footage. I couldn’t be more excited to see the new places that VR can take editing.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I think people look at editors and think the job is easy because they sit in a cozy office on the computer… and sometimes, they’re not wrong. But there is a lot of hidden stress, problem-solving and creativity that is invisible within a finished piece of media. They may watch a final cut and never notice all the things an editor did or fixed — and that’s what makes a good editor.

WHAT DO YOU EDIT ON?
I cut on Avid Media Composer and Adobe Premiere but I also use Adobe’s After Effects and Photoshop in my work.

DO YOU HAVE A FAVORITE PLUG-IN?
Right now it would have to be Mettle’s Skybox VR Player because it allows me to edit and view my cut of 360 footage within the Oculus headset — so ridiculously cool!

WHAT’S YOUR FAVORITE PART OF THE JOB?
Screening a cut to someone for the first time and watching their reaction.

WHAT’S YOUR LEAST FAVORITE?
The fact that the majority of people will never see or know all the unused footage and options that didn’t make the cut.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
I’d have to say those first few hours in the morning with my coffee and late at night after hours because that is when I am the most creative.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Photography.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I’ve been shooting and editing videos since I was a little kid. It carried on into high school and then into college, since that’s really what my hobby and passion was. It was one of the only things I was good at besides video games so it seemed like a no-brainer.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
TGI Fridays Countdown, Ram Division of Labor, Jeep Renegade campaign, Tostitos Recipe Videos and Texas Health Resources.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
A video I cut called Jeep Legendary Lives. It started out as a personal project of mine that I was cutting after hours, and eventually became part of a presentation video that opened the Detroit Auto Show. It’s also one of the first things that got my foot in the door as an editor.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Phone. Computer. Camera.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Facebook. Instagram. Twitter.

DO YOU LISTEN TO MUSIC WHILE YOU WORK? 
Only if the footage does not have audio and I am in the organization and melting phase. It’s usually some sort of chill electronic — typically instrumental.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Playing video games or taking photos really helps to distract my brain, but typically all I have to do is remind myself that I am getting paid doing something I love and something that I’ve been passionate about since I was a kid. With that thought, it’s hard not to be anything but grateful.

Super Hero music video gets Aardman Nathan Love treatment

The Aardman Nathan Love animation studio recently finished design and animation work on director Kris Merc’s music video for Super Hero, the leadoff single from Kool Keith’s new album Feature Magnetic that is a collaboration with MF Doom.

The video starts with a variety of hypnotic imagery, from eye charts to kaleidoscopic wheels, with Doom’s iconic, ever-rotating mask as its centerpiece.

“Being a huge fan of both Kool Keith and MF Doom for years, and knowing our studio had capacity to help Kris out, we couldn’t not get involved,” recalls Aardman Nathan Love (ANL) founder/executive creative director Joe Burrascano. “Kris was able to let his imagination run wild. ANL’s team of designers, 3D artists and technical directors gave him the support he needed to help shape his vision and make the final piece as strong and unique as possible.”

According to Merc, who’s helmed notable projects from music videos for hip-hop pioneers De La Soul to spots for HTC during his lengthy career, the Super Hero production afforded him the space to realize his vision of bending and manipulating pop aesthetics to create something altogether mysterious and otherworldly. “I wanted to capture something that felt like a visual pop travesty,” explains the director. “I wanted it to visually speak to the legacy of the artists, and Afrofuturism mixed with comic book concepts. I’m a fan of the unseen, and I was obsessed with the idea of using Doom’s mask and the iconography as a centralized point – as if time and space converged around these strange, sometimes magical tableaus and we were witnessing an ascension.”

To help develop his concepts, Merc worked closely with Aardman Nathan Love in several key stages of production from the idea and design stage to technical aspects like compositing and rendering. “Our specialty lies mainly in CG character animation work, which typically involves a lot of careful planning and development work up front,” adds ANL CG director Eric Cunha. “Kris has a very organic process, and is constantly finding inspiration for new and exciting ideas. The biggest challenge we faced was being able to respond to this constant flow of new ideas, and facilitate the growth of the piece. In the end, it was an exciting new challenge that pushed us to develop a new way of working that resulted in an amazing, visually fresh and creative piece of work.”

Zbrush was used to create some of the assets, and Autodesk Maya was Aardman Nathan Love’s main animation tool. Most of the rendering was done in Maxwell, aside of two or so shots that were done in Arnold.

Atomic Cartoons helps bring Beatles music to kids for Netflix’s ‘Beat Bugs’

Vancouver’s Atomic Cartoons was recently called on by Netflix to help introduce kids to the music of The Beatles via its show Beat Bugs.

Set in an overgrown suburban backyard, Beat Bugs focuses on five friends as they band together to explore their environment. Iconic Beatles songs, including Magical Mystery Tour, Come Together, Penny Lane and Lucy in the Sky With Diamonds are woven into the narrative of each episode, in versions recorded by such artists as Eddie Vedder, Sia and Pink.

Atomic Cartoons is creating the 3D animation for Beat Bugs in Autodesk Maya, with The Foundry’s Nuke being used to composite the render passes. The studio estimates that it has worked on over 10,000 shots for the series, comprising more than 100,000 individual frames — some taking only two hours to render.

To ensure that it made optimal use of resources during such intensive work, the studio relied on PipelineFX’s 400-node renderfarm Qube! to divide rendering for the show.

Rachit Singh, Atomic’s head of technology, says a big benefit of Qube! is the option to define custom job types — essential in a studio like Atomic, which uses its own proprietary asset-management system alongside off-the-shelf production tracking and playback tools like Shotgun and RV. The studio also uses Flash, Harmony and After Effects on its 2D animated productions, all of which require their own custom job types.

“Even the built-in job types are great out of the box,” says Singh. “But as these job types are constructed as open architecture scripts, they can be customized to fit the studio’s pipeline needs.”

Beat Bugs debuted on Netflix in early August. You can check out the show’s trailer here.

Behind the Title: State Design ECD/Owner Marcel Ziul

NAME: Marcel Ziul

COMPANY: Los Angeles-based State Design

CAN YOU DESCRIBE YOUR COMPANY?
We’re a design, animation and live-action production company. We’re on the small-ish side. Some fancier people might call us a “boutique.” We just like taking on a few select projects at a time.

WHAT’S YOUR JOB TITLE?
I’m the Executive Creative Director and Owner.

STATE_01WHAT DOES THAT ENTAIL?
Being the owner, I used to handle quite a bit of our business affairs, but now I mainly direct and oversee projects that come in our doors on a creative level. Along with a great team of artists and producers, I help ensure that our clients’ creative visions are fulfilled and surpassed.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
Probably the balancing act of being an owner and creative director. It’s sometimes tough to separate the two. Early on, I used to be bogged down by business dealings during the day and then focused on creative after business hours. That was unacceptable.

In the last two years, we’ve grown up as a company, and I’ve hired the right staff to handle the majority of the business, so now I can focus primarily on the creative and strategy of the studio.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Working with a client that truly enjoys collaborating. When you’re in sync with your client it’s no longer just work, it’s fun. Also, I really enjoy working directly with my team of creatives. Our 3D lead Mauro Borba, for example, is always really excited about the projects, and his leadership makes my job more rewarding and creative.

WHAT’S YOUR LEAST FAVORITE?
The opposite of the above answer!

WHAT IS YOUR FAVORITE TIME OF THE DAY?
When I have time to only focus on the creative direction and how to improve upon the projects we are currently working on. Most of the time, this is when I’m alone at the studio in the early morning or late evening.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I’d open a coffee store and probably drink coffee all day long. I also love cycling. That said, a bike shop wouldn’t be a bad idea either. But these are just entertaining thoughts. In reality, I wouldn’t do anything different than what I’m doing now.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
It’s actually because of my dad. One of his best friends had a production company and he thought it would be a good opportunity for me to intern there. I was 18 years old at the time. To me, it was the most amazing thing ever. From there, I went straight to college where I graduated with a degree in advertising.

FIFACAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Our recent work includes the History of FIFA Women’s World Cup web spot for Fox Sports, the “No Brainer” co-branded commercial campaign for IFC, and a beautifully animated commercial called Veteran’s Day for Syfy.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
That’s hard to say because I’m proud of all our collaborations. As of today, I’d say it’s our self-initiated spot called “Statement.” It hits home for me because it’s kind of a culmination of my life’s work up to this point.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
iPhone, Nespresso Machine and my Fuji XT-1.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I love Instagram, but I also follow Facebook and Vimeo.

DO YOU LISTEN TO MUSIC WHILE YOU WORK? CARE TO SHARE YOUR FAVORITE MUSIC TO WORK TO?
Of course! Anything by Sepultura and Queens of the Stone Age to Apparat and Moderat.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Besides cycling, I enjoying relaxing with my family and friends, going to concerts and watching UFC and soccer.

Shipping + Handling adds Luca Giannettoni as CD of motion design/animation

Luca Giannettoni has recently joined Venice, California-based visual effects house Shipping + Handling as creative director. He has been tasked with growing its motion design and animation business.

Shipping + Handling is a creative content studio — working in broadcast, TV, Web and mobile —that offers creative finishing services such as VFX, design, motion graphics and animation. S+H has offices in LA and New York.

“S+H is expanding and we are stoked to have Giannettoni join our team here in Venice,” says executive producer Scott Friske.

While at companies such as Elastic, Oishii Creative and Yu+Co, among others, Giannettoni worked on commercials, broadcast and main titles for brands such as T-Mobile, Toyota, Coke, Hyundai, Goodyear, McDonald’s and ESPN. Giannettoni is a native from Verona, Italy, where he worked in design and fashion prior to coming to Los Angeles.