Manages to look low-tech and true to the retro however lots of CGI used. The story of vinyl records, designed & produced by Imaginary Forces.
Embraces an “un-design” philosophy
Official music video for Jane Bordeaux’s ‘Maagalim’. In a forgotten old penny arcade, a wooden doll is stuck in place and time.
Producers: Uri Lotan & Yoav Shtibelman, Art Director: Ovadia Benishu
Nicely shot and modelled and composited.
Yest another great title from Patrick Claire and his colleagues at Elastic for the Netflix TV series.
Film on the history and future of Audi’s light technology. Lots of motion graphics and trapcode plugins.
Nice title using lots of type and texture from Elastic.
Design: Elastic, Design Director: Duncan Elms, Designers: Nadia Tzuo, Felix Soletic, Erika Bird, Luca Ionescu, Henry DeLeon, Animators: Jeffrey Jeong, Yongsub Song, Vincent Wang, EJ Kang, Peter Murphy, Steven Do, Hal Heah
This video is part of a series of three pieces designed to raise awareness and engage with the audiences ahead of the WWI Centenary celebrations.
Client: MOD, Produced for BFBS TV (2016)
Some great motion graphics from a documentary on the discovery of the scale of the Russian doping program.
Director: Bryan Fogel, Animations: Office of Development & Design
Lovely work from these guys below following the infamous HO Chi Ming trail on mountain bikes.
Production: Red Bull Media House
Director: Nicholas Schrunk
Producer: Sandra Kuhn
Art Director : John Likens
Design + Animation: John Likens, Wesley Ebelhar
Reel music: Remains by Shlohmo
Microfibre technology told through CGI animation
Lovely mix of live action and superimposed CGI for Intel.
Really ecletic mix of styles in these series of animations from Dutch firm PlusOne.
The names of the consumer brands have been removed but all the more intriging.
So this is how they make Swiss/Italian watches! A really nice animation playing on scale from Parallel. Also a great piece of sound design from Alexandre Poirier which really adds to the whole atmosphere.
One of a series of promos for Ultimate Fighter on Fox using rapid editing and splashes of hand-drawn type and scratched elements. By State Design.
A great piece of work using many visual/shooting styles. Great voice-over script and sound design.
Production Company – The Sweet Shop
Director – SEGA
Ridley Scott’s promo for “Prophets of Science Fiction” has been brought to life by Prologue by tracking the graphics to the table top, transitioning to the CGI versions of his notes, in a techy intricate manner.
Motion designer Christian Stangl has put this music video together for Strange Freedom´s track “Hide“ by means of thousands of single microscopic photographies, merged together, creating a dramatic timelapse scenario.
Headphone systems might seem pretty simple to you and I but not if you look at this excellent animation from Paul Clements.
Lifting text pealing away from a newspaper to form the logo of the Arab current affairs show.
Mill+ co-director Ben Smith and co-director Bryce Wymer teamed up with Netflix to create the title sequence for Marco Polo and most appears to be achieved on camera but with a lot of planning.
Slight alteration to the aired version as the cross was taken off. Short and simple but nice idea with the flag transition. By Imaginary Forces.
Simple idea of diagrams on paper done very well in true Imaginary Forces style, similar in fashion to their popular Rubicon title.
Parallax used to the highest degree to create these idents by Brothers & Sisters. Although looking like slowed down footage, stills were placed within a 3D environment, composited with animated details and moved with a virtual camera.
More excellent motion graphics from Antibody. Directed by Patrick Claire
Titles by Dvein, fromthe Spanish film director Kike Maíllo’s retro-futuristic sci-fi thriller.
Beautiful abstract film celebrating the OFFF festival of design, photography and motion
A nicely shot and animated homage to the individuals who have produced landmark titles for features in the past.
Idents and branding for the French History channel. Very subtle but with some very nice clever features to it, especially with the show times towards the end.
An old title sequence now but still quite memorable. By yU+co
Prologue piece together a clever device shooting close-ups with a muted palette and short depth of field. The series is a modern take on Sherlock Holmes by CBS starring Lucy Liu as Watson. I know, right.
Nice title sequence using interesting motion on hockey notation and jump cut editing
Nice bit of tracking and great cinematography but still slightly tongue in cheek – I think?
directed / edited / vfx – Dimitris Ladopoulos, Spiros Rasidakis
A simple technique to use on photographs, some with poorer resolution to add a little more mystery to a rostrum move.
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These documents have been treated in a 3D program to suggest they have been shot with short depth of field and textured and graded to give that warm elegantly lit appearance.
We’ve experimenting with techniques to bleed through images, either from one to another to fade in an image, giving it a natural, organic introduction.
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Very simple move on stills, replicating a rostrum move, but we’ve added a more complex 3D virtual camera, a tighter depth of field, a table setting with lighting and a glossy reflection to the photographs.
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By mapping a painting in extremely high photographic detail, stitching the images and using a proxy-morphing technique, we were able to create incredibly large zooms to square centimetre sections, all in HD for Renaissance Remastered on BBC2.
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Static titles using close-ups of paper and documents with subtle animation to create a coded typographical sequence.
Title sequence using minatures and macro lenses to create space with tiny figures.
Dexter’s titles include extreme close-ups to get a dramatic feeling of intensity.
Promotional video using extreme close-ups and camera angles with VFX to produce an moving journey through music.
Technological looking advert mixing live action with footage by Motion Theory.
A title we shot some years ago in my house in Wandsworth doubling as a US government office in the 30’s. We used a boroscope lens which was about a foot in length attached to a DigiBeta camera to get in to see that dust.
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