Tag Archives: animation

Sony Imageworks provides big effects, animation for Warner’s Smallfoot

By Randi Altman

The legend of Bigfoot: a giant, hairy two-legged creature roaming the forests and giving humans just enough of a glimpse to freak them out. Sightings have been happening for centuries with no sign of slowing down — seriously, Google it.

But what if that story was turned around, and it was Bigfoot who was freaked out by a Smallfoot (human)? Well, that is exactly the premise of the new Warner Bros. film Smallfoot, directed by Karey Kirkpatrick. It’s based on the book “Yeti Tracks” by Sergio Pablos.

Karl Herbst

Instead of a human catching a glimpse of the mysterious giant, a yeti named Migo (Channing Tatum) sees a human (James Corden) and tells his entire snow-filled village about the existence of Smallfoot. Of course, no one believes him so he goes on a trek to find this mythical creature and bring him home as proof.

Sony Pictures Imageworks was tasked with all of the animation and visual effects work on the film, while Warner Animation film did all of the front end work — such as adapting the script, creating the production design, editing, directing, producing and more. We reached out to Imageworks VFX supervisor Karl Herbst (Hotel Transylvania 2) to find out more about creating the animation and effects for Smallfoot.

The film has a Looney Tunes-type feel with squash and stretch. Did this provide more freedom or less?
In general, it provided more freedom since it allowed the animation team to really have fun with gags. It also gave them a ton of reference material to pull from and come up with new twists on older ideas. Once out of animation, depending on how far the performance was pushed, other departments — like the character effects team — would have additional work due to all of the exaggerated movements. But all of the extra work was worth it because everyone really loved seeing the characters pushed.

We also found that as the story evolved, Migo’s journey became more emotionally driven; We needed to find a style that also let the audience truly connect with what he was going through. We brought in a lot more subtlety, and a more truthful physicality to the animation when needed. As a result, we have these incredibly heartfelt performances and moments that would feel right at home in an old Road Runner short. Yet it all still feels like part of the same world with these truly believable characters at the center of it.

Was scale between such large and small characters a challenge?
It was one of the first areas we wanted to tackle since the look of the yeti’s fur next to a human was really important to filmmakers. In the end, we found that the thickness and fidelity of the yeti hair had to be very high so you could see each hair next to the hairs of the humans.

It also meant allowing the rigs for the human and yetis to be flexible enough to scale them as needed to have moments where they are very close together and they did not feel so disproportionate to each other. Everything in our character pipeline from animation down to lighting had to be flexible in dealing with these scale changes. Even things like subsurface scattering in the skin had dials in it to deal with when Percy, or any human character, was scaled up or down in a shot.

How did you tackle the hair?
We updated a couple of key areas in our hair pipeline starting with how we would build our hair. In the past, we would make curves that look more like small groups of hairs in a clump. In this case, we made each curve its own strand of a single hair. To shade this hair in a way that allowed artists to have better control over the look, our development team created a new hair shader that used true multiple-scattering within the hair.

We then extended that hair shading model to add control over the distribution around the hair fiber to model the effect of animal hair, which tends to scatter differently than human hair. This gave artists the ability to create lots of different hair looks, which were not based on human hair, as was the case with our older models.

Was rendering so many fury characters on screen at a time an issue?
Yes. In the past this would have been hard to shade all at once, mostly due to our reliance on opacity to create the soft shadows needed for fur. With the new shading model, we were no longer using opacity at all so the number of rays needed to resolve the hair was lower than in the past. But we now needed to resolve the aliasing due to the number of fine hairs (9 million for LeBron James’ Gwangi).

We developed a few other new tools within our version of the Arnold renderer to help with aliasing and render time in general. The first was adaptive sampling, which would allow us to up the anti-aliasing samples drastically. This meant some pixels would only use a few samples while others would use very high sampling. Whereas in the past, all pixels would get the same number. This focused our render times to where we needed it, helping to reduce overall rendering. Our development team also added the ability for us to pick a render up from its previous point. This meant that at a lower quality level we could do all of our lighting work, get creative approval from the filmmakers and pick up the renders to bring them to full quality not losing the time already spent.

What tools were used for the hair simulations specifically, and what tools did you call on in general?
We used Maya and the Nucleus solvers for all of the hair simulations, but developed tools over them to deal with so much hair per character and so many characters on screen at once. The simulation for each character was driven by their design and motion requirements.

The Looney Tunes-inspired design and motion created a challenge around how to keep hair simulations from breaking with all of the quick and stretched motion while being able to have light wind for the emotional subtle moments. We solved all of those requirements by using a high number of control hairs and constraints. Meechee (Zendaya) used 6,000 simulation curves with over 200 constraints, while Migo needed 3,200 curves with around 30 constraints.

Stonekeeper (Common) was the most complex of the characters, with long braided hair on his head, a beard, shaggy arms and a cloak made of stones. He required a cloth simulation pass, a rigid body simulation was performed for the stones and the hair was simulated on top of the stones. Our in-house tool called Kami builds all of the hair at render time and also allows us to add procedurals to the hair at that point. We relied on those procedurals to create many varied hair looks for all of the generics needed to fill the village full of yetis.

How many different types of snow did you have?
We created three different snow systems for environmental effects. The first was a particle simulation of flakes for near-ground detail. The second was volumetric effects to create lots of atmosphere in the backgrounds that had texture and movement. We used this on each of the large sets and then stored those so lighters could pick which parts they wanted in each shot. To also help with artistically driving the look of each shot, our third system was a library of 2D elements that the effects team rendered and could be added during compositing to add details late in shot production.

For ground snow, we had different systems based on the needs in each shot. For shallow footsteps, we used displacement of the ground surface with additional little pieces of geometry to add crumble detail around the prints. This could be used in foreground or background.

For heavy interactions, like tunneling or sliding in the snow, we developed a new tool we called Katyusha. This new system combined rigid body destruction with fluid simulations to achieve all of the different states snow can take in any given interaction. We then rendered these simulations as volumetrics to give the complex lighting look the filmmakers were looking for. The snow, being in essence a cloud, allowed light transport through all of the different layers of geometry and volume that could be present at any given point in a scene. This made it easier for the lighters to give the snow its light look in any given lighting situation.

Was there a particular scene or effect that was extra challenging? If so, what was it and how did you overcome it?
The biggest challenge to the film as a whole was the environments. The story was very fluid, so design and build of the environments came very late in the process. Coupling that with a creative team that liked to find their shots — versus design and build them — meant we needed to be very flexible on how to create sets and do them quickly.

To achieve this, we begin by breaking the environments into a subset of source shapes that could be combined in any fashion to build Yeti Mountain, Yeti Village and the surrounding environments. Surfacing artists then created materials that could be applied to any set piece, allowing for quick creative decisions about what was rock, snow and ice, and creating many different looks. All of these materials were created using PatternCreate networks as part of our OSL shaders. With them we could heavily leverage the portable procedural texturing between assets making location construction quicker, more flexible and easier to dial.

To get the right snow look for all levels of detail needed, we used a combination of textured snow, modeled snow and a simulation of geometric snowfall, which all needed to shade the same. For the simulated snowfall we created a padding system that could be run at any time on an environment giving it a fresh coating of snow. We did this so that filmmakers could modify sets freely in layout and not have to worry about broken snow lines. Doing all of that with modeled snow would have been too time-consuming and costly. This padding system worked not only in organic environments, like Yeti Village, but also in the Human City at the end of the film. The snow you see in the Human City is a combination of this padding system in the foreground and textures in the background.

Allegorithmic’s Substance Painter adds subsurface scattering

Allegorithmic has released the latest additions to its Substance Painter tool, targeted to VFX, game studios and pros who are looking for ways to create realistic lighting effects. Substance Painter enhancements include subsurface scattering (SSS), new projections and fill tools, improvements to the UX and support for a range of new meshes.

Using Substance Painter’s newly updated shaders, artists will be able to add subsurface scattering as a default option. Artists can add a Scattering map to a texture set and activate the new SSS post-effect. Skin, organic surfaces, wax, jade and any other translucent materials that require extra care will now look more realistic, with redistributed light shining through from under the surface.

The release also includes updates to projection and fill tools, beginning with the user-requested addition of non-square projection. Images can be loaded in both the projection and stencil tool without altering the ratio or resolution. Those projection and stencil tools can also disable tiling in one or both axes. Fill layers can be manipulated directly in the viewport using new manipulator controls. Standard UV projections feature a 2D manipulator in the UV viewport. Triplanar Projection received a full 3D manipulator in the 3D viewport, and both can be translated, scaled and rotated directly in-scene.

Along with the improvements to the artist tools, Substance Painter includes several updates designed to improve the overall experience for users of all skill levels. Consistency between tools has been improved, and additions like exposed presets in Substance Designer and a revamped, universal UI guide make it easier for users to jump between tools.

Additional updates include:
• Alembic support — The Alembic file format is now supported by Substance Painter, starting with mesh and camera data. Full animation support will be added in a future update.
• Camera import and selection — Multiple cameras can be imported with a mesh, allowing users to switch between angles in the viewport; previews of the framed camera angle now appear as an overlay in the 3D viewport.
• Full gITF support — Substance Painter now automatically imports and applies textures when loading gITF meshes, removing the need to import or adapt mesh downloads from Sketchfab.
• ID map drag-and-drop — Both materials and smart materials can be taken from the shelf and dropped directly onto ID colors, automatically creating an ID mask.
• Improved Substance format support — Improved tweaking of Substance-made materials and effects thanks to visible-if and embedded presets.

SIGGRAPH conference chair Roy C. Anthony: VR, AR, AI, VFX, more

By Randi Altman

Next month, SIGGRAPH returns to Vancouver after turns in Los Angeles and Anaheim. This gorgeous city, whose convention center offers a water view, is home to many visual effects studios providing work for film, television and spots.

As usual, SIGGRAPH will host many presentations, showcase artists’ work, display technology and offer a glimpse into what’s on the horizon for this segment of the market.

Roy C. Anthony

Leading up to the show — which takes place August 12-16 — we reached out to Roy C. Anthony, this year’s conference chair. For his day job, Anthony recently joined Ventuz Technology as VP, creative development. There, he leads initiatives to bring Ventuz’s realtime rendering technologies to creators of sets, stages and ProAV installations around the world

SIGGRAPH is back in Vancouver this year. Can you talk about why it’s important for the industry?
There are 60-plus world-class VFX and animation studios in Vancouver. There are more than 20,000 film and TV jobs, and more than 8,000 VFX and animation jobs in the city.

So, Vancouver’s rich production-centric communities are leading the way in film and VFX production for television and onscreen films. They are also are also busy with new media content, games work and new workflows, including those for AR/VR/mixed reality.

How many exhibitors this year?
The conference and exhibition will play host to over 150 exhibitors on the show floor, showcasing the latest in computer graphics and interactive technologies, products and services. Due to the increase in the amount of new technology that has debuted in the computer graphics marketplace over this past year, almost one quarter of this year’s 150 exhibitors will be presenting at SIGGRAPH for the first time

In addition to the traditional exhibit floor and conferences, what are some of the can’t-miss offerings this year?
We have increased the presence of virtual, augmented and mixed reality projects and experiences — and we are introducing our new Immersive Pavilion in the east convention center, which will be dedicated to this area. We’ve incorporated immersive tech into our computer animation festival with the inclusion of our VR Theater, back for its second year, as well as inviting a special, curated experience with New York University’s Ken Perlin — he’s a legendary computer graphics professor.

We’ll be kicking off the week in a big VR way with a special session following the opening ceremony featuring Ivan Sutherland, considered by many as “the father of computer graphics.” That 50-year retrospective will present the history and innovations that sparked our industry.

We have also brought Syd Mead, a legendary “visual futurist” (Blade Runner, Tron, Star Trek: The Motion Picture, Aliens, Time Cop, Tomorrowland, Blade Runner 2049), who will display an arrangement of his art in a special collection called Progressions. This will be seen within our Production Gallery experience, which also returns for its second year. Progressions will exhibit more than 50 years of artwork by Syd, from his academic years to his most current work.

We will have an amazing array of guest speakers, including those featured within the Business Symposium, which is making a return to SIGGRAPH after an absence of a few years. Among these speakers are people from the Disney Technology Innovation Group, Unity and Georgia Tech.

On Tuesday, August 14, our SIGGRAPH Next series will present a keynote speaker each morning to kick off the day with an inspirational talk. These speakers are Tony Derose, a senior scientist from Pixar; Daniel Szecket, VP of design for Quantitative Imaging Systems; and Bob Nicoll, dean of Blizzard Academy.

There will be a 25th anniversary showing of the original Jurassic Park movie, being hosted by “Spaz” Williams, a digital artist who worked on that film.

Can you talk about this year’s keynote and why he was chosen?
We’re thrilled to have ILM head and senior VP, ECD Rob Bredow deliver the keynote address this year. Rob is all about innovation — pushing through scary new directions while maintaining the leadership of artists and technologists.

Rob is the ultimate modern-day practitioner, a digital VFX supervisor who has been disrupting ‘the way it’s always been done’ to move to new ways. He truly reflects the spirit of ILM, which was founded in 1975 and is just one year younger than SIGGRAPH.

A large part of SIGGRAPH is its slant toward students and education. Can you discuss how this came about and why this is important?
SIGGRAPH supports education in all sub-disciplines of computer graphics and interactive techniques, and it promotes and improves the use of computer graphics in education. Our Education Committee sponsors a broad range of projects, such as curriculum studies, resources for educators and SIGGRAPH conference-related activities.

SIGGRAPH has always been a welcoming and diverse community, one that encourages mentorship, and acknowledges that art inspires science and science enables advances in the arts. SIGGRAPH was built upon a foundation of research and education.

How are the Computer Animation Festival films selected?
The Computer Animation Festival has two programs, the Electronic Theater and the VR Theater. Because of the large volume of submissions for the Electronic Theater (over 400), there is a triage committee for the first phase. The CAF Chair then takes the high scoring pieces to a jury comprised of industry professionals. The jury selects then become the Electronic Theater show pieces.

The selections for the VR Theater are made by a smaller panel comprised mostly of sub-committee members that watch each film in a VR headset and vote.

Can you talk more about how SIGGRAPH is tackling AR/VR/AI and machine learning?
Since SIGGRAPH 2018 is about the theme of “Generations,” we took a step back to look at how we got where we are today in terms of AR/VR, and where we are going with it. Much of what we know today couldn’t have been possible without the research and creation of Ivan Sutherland’s 1968 head-mounted display. We have a fanatic panel celebrating the 50-year anniversary of his HMD, which is widely considered and the first VR HMD.

AI tools are newer, and we created a panel that focuses on trends and the future of AI tools in VFX, called “Future Artificial Intelligence and Deep Learning Tools for VFX.” This panel gains insight from experts embedded in both the AI and VFX industries and gives attendees a look at how different companies plan to further their technology development.

What is the process for making sure that all aspects of the industry are covered in terms of panels?
Every year new ideas for panels and sessions are submitted by contributors from all over the globe. Those submissions are then reviewed by a jury of industry experts, and it is through this process that panelists and cross-industry coverage is determined.

Each year, the conference chair oversees the program chairs, then each of the program chairs become part of a jury process — this helps to ensure the best program with the most industries represented from across all disciplines.

In the rare case a program committee feels they are missing something key in the industry, they can try to curate a panel in, but we still require that that panel be reviewed by subject matter experts before it would be considered for final acceptance.

 

Jamm hires animation supervisor Steward Burris

Santa Monica-based visual effects house Jamm has added animation vet and longtime collaborator Steward Burris as animation supervisor.

Burris has been working with Jamm in a freelance capacity since its inception four years ago, and this position makes the partnership official. Burris has been animating and supervising on feature films, television, commercials, games and VR since graduating Vancouver Film School over two decades ago. His resume includes a variety of projects from The X-Files and Breaking Bad to The Curious Case of Benjamin Button, Harry Potter and the famous dancing Kia hamsters.

Burris specializes in character performance and photoreal creature work. A recent job was for a Universal Parks and Resorts Grow Bolder spot, where Burris and VFX supervisor Andy Boyd led the Jamm team to seamlessly integrate CG into live action and further enhance the in-camera elements with additional atmosphere and texture. Recreating King Kong and Transformers sequences was a top favorite for the CG team. Other examples of Burris’ skill for injecting warmth and personality into animated creations can be seen in the KIA Hamster spots, and in the awkward interactions between robots and humans in the Kohler Never Too Next commercial.

“There’s often a belief that to handle a giant CG character job, you need a massive team,” Burris says. “Jamm has shown time and again you can achieve this with a small but highly skilled crew. If you give the best tools to the most talented people, you’ll get fantastic results — in half the time.”

Behind the Titles: Something’s Awry Productions

NAME: Amy Theorin

NAME: Kris Theorin

NAME: Kurtis Theorin

COMPANY: Something’s Awry Productions

CAN YOU DESCRIBE YOUR COMPANY?
We are a family owned production company that writes, creates and produces funny sharable web content and commercials mostly for the toy industry. We are known for our slightly offbeat but intelligent humor and stop-motion animation. We also create short films of our own both animated and live action.

WHAT’S YOUR JOB TITLE?
Amy: Producer, Marketing Manager, Business Development
Kris: Director, Animator, Editor, VFX, Sound Design
Kurtis: Creative Director, Writer

WHAT DOES THAT ENTAIL?
Amy: A lot! I am the point of contact for all the companies and agencies we work with. I oversee production schedules, all social media and marketing for the company. Because we operate out of a small town in Pennsylvania we rely on Internet service companies such as Tongal, Backstage.com, Voices.com, Design Crowd and Skype to keep us connected with the national brands and talent we work with who are mostly based in LA and New York. I don’t think we could be doing what we are doing 10 years ago without living in a hub like LA or NYC.

Kris: I handle most of production, post production and some pre-production. Specifically, storyboarding, shooting, animating, editing, sound design, VFX and so on.

Kurtis: A lot of writing. I basically write everything that our company does, including commercials, pitches and shorts. I help out on our live-action shoots and occasionally direct. I make props and sets for our animation. I am also Something Awry’s resident voice actor.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
Amy: Probably that playing with toys is something we get paid to do! Building Lego sets and setting up Hot Wheels jumps is all part of the job, and we still get excited when we get a new toy delivery — who wouldn’t? We also get to explore our inner child on a daily basis.

Hot Wheels

Kurtis: A lot of the arts and crafts knowledge I gathered from my childhood has become very useful in my job. We have to make a lot of weird things and knowing how to use clay and construction paper really helps.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Amy: See above. Seriously, we get to play with toys for a living! Being on set and working with actors and crew in cool locations is also great. I also like it when our videos exceed our client’s expectations.

Kris: The best part of my job is being able to work with all kinds of different toys and just getting the chance to make these weird and entertaining movies out of them.

Kurtis: Having written something and seeing others react positively to it.

WHAT’S YOUR LEAST FAVORITE?
Amy/Kris: Working through the approval process with rounds of changes and approvals from multiple departments throughout a large company. Sometimes it goes smoothly and sometimes it doesn’t.

Kurtis: Sitting down to write.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
Amy: Since most of the companies we work with are on the West Coast my day kicks into high gear around 4:00pm East Coast time.

Kris: I work best in the morning.

Kurtis: My day often consists of hours of struggling to sit down and write followed by about three to four hours where I am very focused and get everything done. Most often those hours occur from 4pm to 7pm, but it varies a lot.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Amy: Probably helping to organize events somewhere. I am not happy unless I am planning or organizing a project or event of some sort.

Kris: Without this job, I’d likely go into some kind of design career or something involving illustration. For me, drawing is one of my secondary interests after filming.

Kurtis: I’d be telling stories in another medium. Would I be making a living doing it is another question.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
Amy: I have always loved advertising and creative projects. When I was younger I was the advertising manager for PNC Bank, but left the corporate world when I had kids and started my own photography business, which I operated for 10 years. Once my kids became interested in film I wanted to foster that interest and here we are!

Kris: Filmmaking is something I’ve always had an interest in. I started when I was just eight years old and from there it’s always something I loved to do. The moment when I first realized this would be something I’d follow for an actual career was really around 10th grade, when I started doing it more on a professional level by creating little videos here and there for company YouTube channels. That’s when it all started to sink in that this could actually be a career for me.

Kurtis: I knew I wanted to tell stories very early on. Around 10 years old or so I started doing some home movies. I could get people to laugh and react to the films I made. It turned out to be the medium I could most easily tell stories in so I have stuck with it ever since.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Amy: We are currently in the midst of two major projects — one is a six-video series for Hot Wheels that involves creating six original song music videos parodying different music genres. The other is a 12-episode series for Warner Bros. Scooby Doo that features live-action and stop-motion animation. Each episode is a mini-mystery that Scooby and the gang solve. The series focuses on the imaginations of different children and the stories they tell.

We also have two short animations currently on the festival circuit. One is a hybrid of Lovecraft and a Scooby-Doo chase scene called Mary and Marsha in the Manor of Madness. The other is dark fairytale called The Gift of the Woods.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
Amy: Although I am proud of a lot of our projects I am most proud of the fact that even though we are such a small company, and live in the middle of nowhere, we have been able to work with companies around the world like Lego, Warner Bros. and Mattel. Things we create are seen all over the world, which is pretty cool for us.

Lego

Kris: The Lego Yellow Submarine Beatles film we created is what I’m most proud of. It just turned out to be this nice blend of wacky visuals, crazy action, and short concise storytelling that I try to do with most of my films.

Kurtis: I really like the way Mary and Marsha in the Manor of Madness turned out. So far it is the closest we have come to creating something with a unique feel and a sense of energetic momentum; two long term goals I have for our work. We also recently wrapped filming for a twelve episode branded content web series. It is our biggest project yet and I am proud that we were able to handle the production of it really well.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Amy: Skype, my iPad and the rise of online technology companies such as Tongal, Voices.com, Backstage.com and DesignCrowd that help us get our job done.

Kris: Laptop computers, Wacom drawing tablets and iPhones.

Kurtis: My laptop (and it’s software Adobe Premiere and Final Draft), my iPhone and my Kindle.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Amy: Being in this position I like to know what is going on in the industry so I follow Ad Age, Ad Week, Ad Freak, Mashable, Toy Industry News, iO9, Geek Tyrant, and of course all the social media channels of our clients like Lego, Warner Bros., Hot Wheels and StikBots. We also are on Twitter (@AmyTheorin) Instagram (@Somethingsawryproductions) and Facebook (Somethingsawry).

Kris: Mostly YouTube and Facebook.

Kurtis: I follow the essays of Film Crit Hulk. His work on screenwriting and story-telling is incredibly well done and eye opening. Other than that I try to keep up with news and I follow a handful of serialized web-comics. I try to read, watch and play a lot of different things to get new ideas. You never know when the spaghetti westerns of Sergio Leone might give you the idea for your next toy commercial.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Amy: I don’t usually but I do like to listen to podcasts. Some of my favorites are: How I Built This, Yeah, That’s Probably an Ad and Fresh Air.

Kris: I listen to whatever pop songs are most popular at the time. Currently, that would be Taylor Swift’s “Look What You Made Me Do.”

Kurtis: I listen to an eclectic mix of soundtracks, classic rock songs I‘ve heard in movies, alternative songs I heard in movies, anime theme songs… basically songs I heard with a movie or game and can’t get out of my head. As for particular artists I am partial to They Might Be Giants, Gorillaz, Queen, and the scores of Ennio Morricone, Darren Korb, Jeff Williams, Shoji Meguro and Yoko Kanno.

IS WORKING WITH FAMILY EASIER OR MORE DIFFICULT THAN WORKING/MANAGING IN A REGULAR AGENCY?
Amy: Both! I actually love working with my sons, and our skill sets are very complimentary. I love to organize and my kids don’t. Being family we can be very upfront with each other in terms of telling our opinions without having to worry about hurting each other’s feelings.

We know at the end of the day we will always be there for each other no matter what. It sounds cliché but it’s true I think. We have a network of people we also work with on a regular basis who we have great relationships with as well. Sometimes it is hard to turn work off and just be a family though, and I find myself talking with them about projects more often than what is going on with them personally. That’s something I need to work on I guess!

Kris: It’s great because you can more easily communicate and share ideas with each other. It’s generally a lot more open. After a while, it really is just like working within an agency. Everything is fine-tuned and you have worked out a pipeline for creating and producing your videos.

Kurtis: I find it much easier. We all know how we do our best work and what our strengths are. It certainly helps that my family is very good at what they do. Not to mention working from home means I get to set my own hours and don’t have a commute. Sometimes it’s difficult to stay motivated when you’re not in a professional office setting but overall the pros far outweigh the cons.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Amy: I try to take time out to walk our dog, but mostly I love it so much I don’t mind working on projects all the time. If I don’t have something to work on I am not a happy camper. Sometimes I have to remember that not everyone is working on the weekends, so I can’t bother them with work questions!

Kris: It really helps that I don’t often get stressed. At least, not after doing this job for as long as I have. You really learn how to cope with it all. Oftentimes, it’s more just getting exhausted from working long hours. I’ll often just watch some YouTube videos at the end of a day or maybe a movie if there’s something I really want to see.

Kurtis: I like to read and watch interesting stories. I play a lot games: board games, video games, table-top roleplaying. I also find bike riding improves my mood a lot.

Behind the Title: Postal director of operations Jason Mayo

NAME: Jason Mayo

COMPANY: Postal

CAN YOU DESCRIBE YOUR COMPANY?
Postal is a VFX and animation studio made up of artists and producers that like to make cool shit. We experiment and push the envelope, but we’re also adults, so we get it done on time and on budget. Oh and we’re not assholes. That would be a cool t-shirt. “Postal: We’re not assholes.”

Postal is a creative studio that believes everything starts with great design. That’s our DNA. We believe that it’s always about the talent and not the tools. Whether it’s motion graphics, animation, visual effects, or even editorial, our desire to create transcends all mediums.

Postal’s live-action parent company, Humble is a NY- and LA-based home for makers —directors, writers, creatives, artists and designers — to create culture-defining content.

Coke Freestyle

WHAT’S YOUR JOB TITLE?
Director of Operations

WHAT DOES THAT ENTAIL?
I spend a lot of my time on biz dev, recruiting interesting talent and developing strategic partnerships that lead to new pipelines of business.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
Probably picking up garbage. Creatives are pretty messy. They leave their stuff all over the place. The truth of the matter is, it’s a small company so no matter what your title is, you’re always on the front lines. That’s what makes my days interesting.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Definitely competing for projects we’re passionate about. I love the thrill of the chase. Also I love trying to keep our artists and producers inspired. Not every project needs to win awards but it’s important to me that my team finds the work interesting and challenging to tackle.

WHAT’S YOUR LEAST FAVORITE?
Probably the picking up the garbage part. I’ve ruined a lot of shirts. I also hate seeing content on TV or on the web that could have been produced by us. Especially if it turned out killer.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
I have two daughters and a puppy so by 8am I’m basically a broken man. But as soon as I hit the office with my iced coffee in hand, I’m on fire. I love the start of the workday. Endless possibilities abound.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Probably a cool middle school English teacher. The kids would call me Jay and talk to me about their problems. Honestly though, when I’m done working I’ll probably just disappear into the woods or something and chase possums with a BB gun.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
It was an accident. I wanted to be an actor. My mom’s best friend’s, ex-husband owned a small post house and he hired me as a receptionist. I was probably the greatest receptionist of all time. I thought being in “entertainment” would get me to Hollywood through the back door. I still have about 500 headshots that I never got to use.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
We’ve had such a crazy year. We’ve done projects for Pepsi, Coke, Panera, Morgan Stanley, TED, Canon, Billboard and Nike.

TED Zipline

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I really love the TED stuff we do. They are a dream client. They come to us with a challenge and they allow us to go away, come up with some really imaginative stuff and then present them with a solution. As long as it’s on brief, it can be any style or any execution we think is right. We love that type of open collaboration with our clients.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
If we’re talking about apps, as well as hardware, then that’s easy. Sonos because it’s all about the music, Netflix because… zombies, and ride sharing apps because cabs are dirty and they make me nauseous.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
In general, I’m pretty active on social media and we actually just launched Facebook and Instagram pages for Postal. In a parallel universe I’m a dad blogger so I’ve always been big on community via social media. Facebook, Instagram and Twitter are the standards for me, but I’ve been Snapchatting with my daughter for years. I do have a Pinterest page somewhere, but it’s devoted solely to Ryan Gosling.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
I’m a heavy metal guy so pretty much anything heavy. I do also love me some Jackson Browne and some Dawes. Oh, and the Pretty in Pink soundtrack, of course.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I try not to let it get to me. It’s way tougher raising two daughters and two dogs. The rest is a cakewalk. I do binge eat from time to time and love to watch horror movies on the train. Always a good way for me to decompress.

Tobin Kirk joins design/animation house Laundry as EP

Tobin Kirk has joined LA-based design and animation studio Laundry as executive producer. Kirk brings nearly 20 years of experience spanning broadcast design, main title sequences, integrated content, traditional on-air spots, branded content, digital and social. At Laundry, he will work closely with executive producer Garrett Braren on business development, as well as client and project management efforts.

Kirk was most recently managing executive producer at Troika, where he oversaw all production at the entertainment brand agency’s 25,000-square-foot facility in Hollywood, including its creative studio and live-action production subsidiary, Troika Production Group. Prior to that, he spent nearly five years as executive producer at Blind, managing projects for Xbox/Microsoft, AT&T, ancestry.com and Sealy Mattress, among others.

As a producer, Kirk’s background is highlighted by such projects as the main title sequence for David Fincher’s The Girl With the Dragon Tattoo at Blur Studio, commercials for Chrysler and Gatorade at A52 and an in-flight video for Method/Virgin America at Green Dot Films. He also spent three years with Farmer Brown working for TBS, CBS, Mark Burnett Productions, Al Roker Productions, The Ant Farm, Bunim/Murray and Endemol USA.

In addition, Kirk collaborated with video artist Bill Viola for over six years, producing projects for the London National Gallery, Athens Olympics, the Getty Museum, Opera National de Paris, Guggenheim Museum, Munich’s E.ON Corporation and Anthony d’Offay Gallery.

More speakers added for Italy’s upcoming View Conference

More than 50 speakers are confirmed for 2017’s View Conference, a digital media conference that takes place in Turin, Italy, from October 23-27. Those speakers include six visual effects Oscar winners, two Academy Sci-Tech award winners, animated feature film directors, virtual reality pioneers, computer graphics researchers, game developers, photographers, writers and studio executives.

“One of the special reasons to attend View is that our speakers like to stay for the entire week and attend talks given by the other speakers, so our attendees have many opportunities to interact with them,” says conference director Dr. Maria Elena Gutierrez. “View brings together the world’s best and brightest minds across multiple disciplines, in an intimate and collaborative place where creatives can incubate and celebrate.”

Newly confirmed speakers include:

Scott Stokdyk- This Academy Award winner (VFX supervisor, Valerian and the City of a Thousand Planets) will showcase VFX from the film – from concept, design and inspiration to final color timing.

Paul Debevec – This Academy Award winner (senior staff engineer, Google VR, ICT) will give attendees a glimpse inside the latest work from Google VR and ICT.

Martyn Culpitt – A VFX supervisor on Logan and at Image Engine company, he will breakdown the film Logan, highlighting the visual effects behind Wolverine’s gripping final chapter.

Jan-Bart Van Beek – This studio art director at Guerrilla Games will take attendees through the journey that Guerrilla Games underwent to design the post-apocalyptic world of the game franchise, Horizon Zero Dawn.

David Rosenbaum – This chief creative officer at Cinesite Studios along with Cinesite EP Warren Franklin will present at talk titled, “It’s All Just Funny Business: Looking for IP, Talent ad Audiences.”

Elisabeth Morant – This product manager for Google’s Tilt Brush will discusses the company’s VR painting application in a talk called, “Real Decisions, Virtual Space: Designing for VR.”

Donald Greenberg – This professor of computer graphics at Cornell University will be discussing the “Next-gen of Virtual Reality”

Steve Muench – He will present “The Labor of Loving Vincent: Animating Van Gogh to Solve a Mystery.”

Deborah Fowler – This professor of visual effects at Savannah College of Art and Design/SCAD will showcase “Procedural and Production Techniques using Houdini.”

Daniele Federico: This co-founder and developer at Toolchefs will present “Make us Alive. An In-Depth Look at Atoms Crowd Software.”

Jason Bickerstaff – This character artist from Pixar Animation Studios) will present “Crossing The Dimensional Rift.”

Steve Beck – This VFX art director from ILM will discuss “The Future of Storytelling.”

Nancy Basi – She is executive director of the Film and Media Centre – Vancouver Economic Commission.

For a complete listing of speakers visit http://www.viewconference.it/speakers

 

Quick Chat: The making of Big Chicken Small Movie

Big Chicken Small Movie is an animated short film that pays homage to Marietta, Georgia’s beloved 56-foot-tall steel fowl. This iconic attraction is part of the local KFC franchise that recently underwent a massive renovation. In the film, a young boy, who is a bit of an outcast, finds a friend in the gigantic chicken and they go on an adventure in North Georgia.

We reached out to agency W+K, animation company Awesome Inc and music company Bluetube about this unique opportunity to honor the local monument in a charming, design-driven tale of friendship.

How did the idea for a film celebrating the Big Chicken come about? What was your inspiration?
Matthew Carol and Mike Egan, Wieden+Kennedy: We wanted to celebrate the re-opening of the Big Chicken KFC with something that locals would love because they’ve given this big steel vaguely chicken-like structure a lot of love since it was built in 1956. It is such an imposing steel structure it seemed funny that it could come to life, befriend a boy and go on a fun adventure while inadvertently leaving a path of destruction in its wake. We were inspired by animation classics from our childhood and, of course, The Iron Giant was mentioned a couple times when we were developing the concept.

Why was animation your favored route to bring it to life?
Matthew Carol and Mike Egan, Wieden+Kennedy: Our first plan was to bring the Big Chicken to life using artificial intelligence and Japanese robotics, but it turns out that an animated film was way more feasible and less dangerous for restaurant visitors.

How did you select Awesome Inc was the right partner for the project?
Matthew Carol and Mike Egan, Wieden+Kennedy: While we did have an Atlantan on our team, we’re way up in Portland, Oregon, so we hoped we would find an Atlanta-based studio who would put some passion and local insights into the project. Awesome Inc really took ownership of the story, character design and all the little details that help the story feel like a celebration of Marietta and the Big Chicken’s place there.

Tell us a little about the style inspiration?
Craig Sheldon, Awesome Inc: With almost all of our projects, color scheme and style are the first things we begin to sort out. We knew that this was a simple story with a lot of emotion, so we chose a limited but bold color palette to bring it to life. Using basic shapes in an illustrative style seemed to aid in our storytelling as well, so we looked to examples with a like-minded philosophy for inspiration, some newer and some more classic.

What did you learn along the way?
Craig Sheldon, Awesome Inc: As far as animation technique, we learned a great deal. We tried out new methods of character rigging and integrating 3D in a seamless way that we hadn’t before. We learned some valuable storytelling techniques during the boarding and animatic phase that we’d not yet encountered on previous projects. We also learned that not only is the phrase “less is more” true in style, but also in storytelling, as we ended up deciding to take out a number of almost completed scenes that weren’t advancing the overall narrative of the piece. It is tough to see so many hours of work hit the cutting room floor, but in the end it made for a better film.

How did you decide on the style of music for the film?
Michael Kohler, Bluetube: I think with most scoring situations, the style of the composition is heavily influenced by the content, look and execution of a scene. With Big Chicken, the character design and animation really helped shape the story, and without any dialogue the music had to complement that feel. The only track that was written before seeing any moving animation was the one that plays as the boy and chicken go on their adventures — that track was the first piece created for this project, and it was started based only on the amazing storyboards.

Can you talk a little about your balance of traditional instruments to digital tools/plug-ins used for the soundtrack?
Michael Kohler, Bluetube: I’ve always been a fan of using both traditional and digital instrumentation when the opportunity presents itself. I think both have positive and negative aspects depending on the situation. For this particular genre of music I tend to start with and almost always incorporate guitar. That was my first instrument and still the one I’m most comfortable with. After that, the sky is the limit with the amazing digital instruments and tools we have at our disposal, giving us opportunities we didn’t have previously.

What was the collaboration like with the W&K team?
Allison Sanders, Awesome Inc: W+K approached us with strong ideas and open minds, presenting an excellent platform for collaboration. They gave us a great deal of creative freedom while at the same time providing the bedrock concept that made this short great. They provided quality feedback if something wasn’t quite working, with the added bonus of positive encouragement along the way. With their understanding of the client’s goals and our first-hand knowledge of the surrounding area, we were able to create a film that sparked interest in the refurbished franchise, while evoking a fond sense of nostalgia for Georgia residents and Big Chicken devotees.

MTV International’s Flanker Channels get graphic rebrand

LA-based animation and design studio Laundry has rebranded MTV International’s Flanker Channels, seven music-themed channels that broadcast in international markets and complement the MTV flagship channel. They worked closely with MTV World Creative Studio, the network’s international creative unit. The new brand identity is now on-air and online.

The MTV Flanker Channels offer viewers a wide variety of choices across seven different subsets of programming: Live, Hits, Classic, Rock, Music, Dance and Base. While the new branding package has a unified look, each channel’s theme is tailored for that type of music. Within the package there is a series of genre-inspired “party animal” characters that dance, shake and move to the DNA of each channel.

“We were faced with the challenge of finding a conceptual and visual thread that connected everything,” says Maximiliano Borrego, creative director at MTV World Creative Studio. “Something unique and identifiable across the channels that would, above all, entertain our audience. It was a big visual creative puzzle.”

“Adhering to MTV’s ‘Kill Boring’ mantra was a welcome license for us to make bold, creative choices that the network can own,” says PJ Richardson, partner/executive creative director of Laundry. “All seven Flanker identities reveal something distinct and unexpected, yet holistically fit within the larger brand ecosystem of the MTV family of channels.”

Laundry developed a graphics system for the rebrand based on “Wireframe + Skin,” MTV’s visual framework to branding. This conceptual and modular design approach dictated how they composed and arranged graphic content to interact. Assets included IDs, bumpers, key art, on-screen graphics, end boards, background animations, invaders (loopable animated elements), 3D logos (on-air and online), container boxes and crawls for each Flanker Channel.

They called on Maxon Cinema 4D and Adobe’s Creative Suite.

“We pictured MTV as a virtual reality planet where each sub-channel is a genre-specific continent — inhabited by party animals,” says Anthony Liu, partner/executive creative director of Laundry. “They’re the perfect visual metaphor for the diverse music genres and fans of the world; different in their influence and location, but the same in their fandom and human spirit.”

The party animals are 3D characters rendered to look graphic. Each one distantly references a real animal representing the music styles of the specific channel: an eel reflects the smoothness of electronic music like a glow stick, and a crab with a speaker-like shell is a nod to Jamaican dance-party vans. The creatures were designed to provide a lot of latitude across different moments in animation. For MTV Rocks, a 24-hour alternative music channel, Laundry built a frenetic mosh pit-inspired character made of drumsticks and guitar picks. While the animation is not specific to any one band or type of rock music, it captures the overall wild energy of the genre.

In total, Laundry created more than 300 elements for the MTV International Flanker Channels. The team also developed insanely vibrant layouts that reinforce MTV’s “Kill Boring” mission statement by combining the invader graphics with off-the-wall logo treatments and color palettes. Once the entire rebrand was brought to life, Laundry created a style guide with templates, so MTV teams across the world could use the assets consistently, but with enough flexibility as to not be repetitive.

“The MTV World Creative group really understood viewers’ shortening attention span, but increased appreciation of creativity, which was a vision we shared,” concludes Richardson. “Challenging in all the right ways, what made the collaboration so spectacular was the process of evolving the look and feel of the rebrand to nail both of those things and make a final package we’re all super stoked about.”