Tag Archives: Carbon VFX

Carbon creates four animated thrill ride spots

Carbon was called on once again by agency Cramer-Krasselt to create four spots — Railblazer, Twisted Timbers, Steel Vengeance and HangTime — for Cedar Fair Entertainment Company, which owns and operates 11 amusement parks across North America.

Following the success of Carbon’s creepy 2017 teaser film for the ride Mystic Timbers, Cramer-Krasselt senior art director David Vaca and his team presented Carbon with four ideas, each a deep dive into the themes and backstories of the rides.

Working across four 30-second films simultaneously and leading a “tri-coastal” team of artists, CD Liam Chapple shared directing duties with lead artists Tim Little and Gary Fouchy. The studio has offices in NYC, LA and Chicago.

According to Carbon executive producer/managing director Phil Linturn, “We soaked each script in the visual language, color grades, camera framing and edits reminiscent of our key inspiration films for each world — a lone gun-slinger arriving to town at sundown in the wild west, the carefree and nostalgic surf culture of California, and extreme off-roading adventures in the twisting canyons of the southwest.”

Carbon’s technical approach to these films was dictated by the fast turnaround and having all films in production at the same time. To achieve the richness, tone and detail required to immerse the viewer in these worlds, Carbon blended stylized CGI with hyper-real matte paintings and realistic lighting to create a look somewhere between their favorite children’s storybooks, contemporary manga animation, the Spaghetti Westerns of Sergio Leone and one or two of their favorite Pixar films.

Carbon called on Side Effects Houdini (partially for their procedural ocean toolkit), Autodesk Maya’s nCloth and 3ds Max, Pixologic’s Zbrush for 3D sculpting and matte painting, Foundry’s Nuke and FilmLight’s Baselight for color.

“We always love working with Cramer-Krasselt,” concludes Linturn. “They come with awesome concepts and an open mind, challenging us to surprise them with each new deck. This was a fantastic opportunity to expand on our body of full CGI-direction work and to explore some interesting looks and styles. It also allowed us to come up with some very creative workflows across all three offices and to achieve two minutes of animation in just a few weeks. The fact that these four films are part of a much bigger broadcast campaign comprising 70-plus broadcast spots is a testament to the focus and range of the production team.”

Behind the Title: Carbon’s head of color grading, Maria Carretero

NAME: Maria Carretero

COMPANY: Carbon (@carbonvfx)

CAN YOU DESCRIBE YOUR COMPANY?
Carbon, which has locations in New York, Chicago and LA, is a boutique design and visual effects company that focuses on art, ideas, and talent. I am based in Chicago.

WHAT’S YOUR JOB TITLE?
Head of color grading

WHAT DOES THAT ENTAIL?
I work with clients to find color palettes and looks that best tell their story.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I’m still surprised with how much creativity is involved in the grading process. I especially love coming to solutions through mixing art and technique.

WHAT SYSTEM DO YOU WORK ON?
Blackmagic DaVinci Resolve

ARE YOU SOMETIMES ASKED TO DO MORE THAN JUST COLOR ON PROJECTS?
Sometimes I’m involved in projects from very early on, which usually entails creating tone and color palettes to be used during filming. I’ve also contributed reference images that help the creative team settle on an overall look or color, and have been present at camera tests to check light and exposure. I love being able to use my artistic background in painting and the fine arts to give projects their maximum creative potential.

Jeep “Two Words”

WHAT’S YOUR FAVORITE PART OF THE JOB?
There are moments when I’m grading a piece and I have a strange connection with it as if I’m seeing it clearly for the first time. It’s like I suddenly know it’s going to be a wonderful grade. Moments like that are magical.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Sunset, when all the lights in the city start turning on.

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

WHY DID YOU CHOOSE THIS PROFESSION?
Color grading chose me. Before I had officially started grading, I spent a lot of my time focusing on my painting, and while grading was something I could technically excel at, my art was the priority at the time. Then digital grading started gaining momentum in Spain and I gradually realized that color grading opportunities were more and more important to me. I feel extremely lucky. I’m self-taught and relied on my incredible network of supporters to give me chances to go further and further.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I worked on the last five Jeep commercials with a talented group of people from DDB Chicago and the great director Tobias Granström. Some other projects included a huge campaign for Panama Tourism out of VML, the hilarious Liquid Plumbr spot from FBC Chicago and the newest Machine Gun Kelly music video, directed by Steven Caple Jr., which has more than four million views on YouTube.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I’m proud of a lot of my recent work, but Recalculating for Jeep was an incredibly challenging and fulfilling project. We did a lot of research around the idea of sunsets, focusing on the sophistication of light and keeping it as natural feeling as possible.

Jeep “Recalculating”

WHERE DO YOU FIND INSPIRATION? ART? PHOTOGRAPHY?
Art, life, reading and my previous experiences.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My cell, my Dolby monitor and Spotify.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I have Facebook, Twitter, Vimeo, Movidiam and Instagram, where I recently started @carretero.color to feature my color work.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
I always listen to music when I work. Music is great support — it can make you happy in a second! I listen to a lot of different bands, but Band of Horses, Tame Impala, Neil Young, Flaming Lips, Eels, Devendra, The Kills and Spanish music, like Niña Vintage, are some of my favorites!

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I never let stress control me. Sometimes the challenges of the job are huge, but that’s our work and our industry — we know how to get it done. Challenges are wonderful because they point directly at our creativity. Being uncomfortable sometimes is a good thing. It makes you break down your limitations. Working with a great group of people helps a lot, too, so you can always have fun, even on the hardest days.

Design director Leo Nguyen joins Carbon VFX

Carbon VFX‘s New York-based studio has added design director Leo Nguyen to its staff. He brings with him experience that spans across art direction, illustration, 3D, motion graphics and editing. Prior to Carbon VFX, Nguyen spent two years at Light of Day as design director and eventually became creative director. He joined Light of Day in 2013 when he moved from Australia, where he spent his childhood, to New York City.

Nguyen has worked on all sorts of projects, from branding to commercials, short films, music videos and broadcast promos. Recently he completed a campaign for Royal Canin pet food and the animated Christmas short Window Washer for DDB NY, as well as The Big Picture, a collection of shorts scored by jazz musician David Krakauer. Nguyen also directed a series of broadcast promos for the 54th and 55th Grammys and Australia’s Next Top Model.

Over his design career, Nguyen has won five PromaxBDA International Awards, one Rocket Award for Global Excellence (along with Alessandra Menozzi) and four additional awards for his design work on the Australian TV shows Cricket Superstar and Slide. Nguyen directed his own short film called Paper Boats & Paper Planes. It was an official selection at the Sydney International Animation Festival in 2010.