Some really nice edgy, quirky cutout animation here from Yellowlab
Method Studios’ New York team recently designed the intricate opening titles for “El Chapo,” a new series from Univision and Netflix that retells the story of notorious Mexican drug kingpin Joaquin “El Chapo” Guzman.
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.
Secondary Progressive Multiple Sclerosis sucks! One mans journey with the disease echoes—”I’m still here.”
Schizophrenia is a mental illness that changes the way you think, feel, and act — and with the right treatment, it can be managed. Michelle Hammer tells her story.
This is the third of 3 animation videos I’ve made for a web documentary that tells the story of 5 young Syrian refugees who risked it all for a chance to start over. Animated by Mira Ruido
Some very nice maps and transitions in this teaser for the lost gold of WW2 by Roger.TV
Another great sequence for The Division – by Patrick Clair
Interesting mix of glitches and dots on the weekly facebook news format from C4.
Some really nice grungy, hand drawn retro treatment to basketball footage in this main title for “Shut up and dribble”
Opening titles for “CIVIL 80”, a documentary TV series about the Spanish civil war. Created by Antoni Sendra AKA PODENCO – a spanish freelance director specializing in mixed media driven projects.
In todays Gig Economy, workers rights feel like a thing of the past. But 300 years ago, conditions in Britain were so extreme that death at work was commonplace. This sparked the worlds first trade unions that still fight for workers today.
A gambler, who is trapped in a life-threatening mindstate, confesses the dark story of his life on how much he lost by chasing his losses.
Written and Directed by Mantas Gr
Illustration and Animation: Mantas Gr
Music and Sound Design: Zing Audio
Audio Mastering: Dan Solovitz
Script Editor: James Nixon
Large headline type edges along US landscapes and GV’s from the show. Nice tracking and compositing job from Elastic.
Multiple recorded voices from AA meetings explored through hand-drawn animation.
Yest another great title from Patrick Claire and his colleagues at Elastic for the Netflix TV series.
A fab mix of luxury items and warfare which has elements of James Bond titles.
Director | Patrick Clair
Client | The Ink Factory
Black & white disruptive video effects from Elastic.
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
Title sequence showing the deconstruction of Manhatten.
Design Studio: Elastic, Executive Creative Director: Angus Wall, Creative Director: Lisa Bolan, Art Director: Heidi Berg, Designer: Felix Soletic, Composite and Animation: Yongsub Song, Charles Khoury, Piero Desopo, Alex Silver, Rachel Brickel, Editor: Lauren Dellara
London design/vfx studio Blue Spill design title sequence for Alison Klayman’s Netflix original, Take Your Pills. More of their work @ bluespill.co.uk
Design director: Allison Brownmoore
Flame Artist: Anthony Brownmoore
Designers: Joe Nowacki, Oliver Weinfeld, Sylvain Doussa
Post Production Assistant: Anna Maros
A personal project from Terrence Ginja Martinho based on the book “Man Meets Woman.”
Loved all the series and these titles & music are really great.
Direction: Paul McDonnell
Art Direction: Hugo Moss
Design and animation: Ben Hanbury and Tamsin McGee, Illustration: Nathan McKenna, Composer: John Lunn, Client: Carnival
In conjunction with Adult Swim, Run The Jewels released a mind-altering video by esteemed cult video artist Cyriak for the albums lead track Meowpurrdy, a remix by El-P that deposits his and Killer Mikes vocal performances in the midst of a rhythmic vapor of meows, purrs, and hisses. Cyriaks visual treatment is an LSD-nightmare miasma of cat limbs and teeth fractalizing into feline Cthulu-esque monstrosities.
The music video for Bonobo’s song, “Cirrus,” is a beautifully surreal video collage created by British animator Cyriak.
Designed and animated by Tynesha Foreman from an interview with Coates about his article in The Atlantic where he cites Gallup research to explain how tribalism and white supremacy paved the way for Trump.
Client: The Atlantic
Director/animator: Tynesha Foreman
Producer: Nicholas Pollock
Production Mangager Brian Jimenez
Senior producer: Ashley Bloom Kenny
Executive producer: Kasia Ceiplak-Mayr von Baldegg
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
Your rights in the US using the 4th & 5th Amendment. Produced and Directed by: Dress Code. Lead Animator: Wes Ebelhar
Animation from Bungalow revealing Rhodes a very personal musical memory from a room in a psychiatric hospital.
Chaotic spot for Tiscis sportswear collaboration with Nike called NikeLab x RT.
Directed by JN director Luca Finotti
Really cool idents from Impactist, based in Portland Oregan
Film for Soa Aids Nederland. Part of the campaign to raise awareness about sexually transmitted infections and HIV among people living in the Netherlands from sub-Saharan Africa, Suriname, the Dutch Antilles and Aruba.
A very simple and elegant painterly end sequence from Blur Studio.
Series of animated documents made for a web documentary that tells the story of 5 young Syrian refugees who risked it all for a chance to start over. Treated stills and documents manage to sustain the long sequences.
Not the newest of films here, but the designers at Parallel managed to combine actual products with collage and simple figures within a cleverly lit scene to create a unique short commercial.
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.
This title gets us up to speed quickly with the recent history of Ukriane, well at least how the story goes in the West. It’s another excellent piece of work from Patrick Claire
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.
Beautiful animated film highlighting the work done by HIAS. Guided by the Jewish historical experience this organisation looks out for the plight of refugees.
Directed and Designed by Moth Collective
Produced by Sovev Media
Opening Title sequence of HBOs Documentary; MANHUNT. The show documented the two decade hunt for Osama Bin Laden. Lots of documents and ink bleeds.
Creative Directed & Designed by Manija Emran.
Produced by The Mill+
Lots of layers of political and social upheaval over the centuries are organised through what looks like a burning paper effect for the titles and graphics for director Greg Barker’s documentary, We Are The Giant, a Passion Pictures & Motto Pictures Production.
Creative Directed & Designed by Manija Emran. Produced by Mill Plus themillplus.com
Essentially, spy stuff. Lots of overlays and tracking footage and data gives it that high-tech espionage look. By Imaginary Forces
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.
More excellent motion graphics from Antibody. Directed by Patrick Claire
Antibody created the main title sequence for HBO’s critically acclaimed drama series True Detective. Working through our LA-based production partners, Elastic, and with compositing support from the talented crew at Breeder.
Textured and strongly lit animation bring a certain eastern european feel to this animation by Martin Zivocky.
Looks like Rubicon but with a figure orchestrating. Another animation from Marcus Eckert.
Yes slavery is still with us in some parts and this film questions our role in that trade. From Daniel Stewart working with Epipheo studios and Kasey Lum.
John Allison and Chris Bovill, Creative Directors of 4creative where the drivers behind the 45 hours of footage, shot over two days using 44 cameras and a cast and crew of almost 300 people, including race and stunt horses and jockeys to achieve the ambitious final film.
An old title sequence now but still quite memorable. By yU+co
This is an amazing piece of work. The camera movement, depth of field, modelling and explosions work really well.
Infographic about the risk of AIDS/HIV in the third world. The film uses typography and simple graphics to tell the story.
Clever use of super-imposing and tracking for this advert. Using boxes to separate action and have elements interact between them in a rustic setting.
Nice bit of tracking and great cinematography but still slightly tongue in cheek – I think?
directed / edited / vfx – Dimitris Ladopoulos, Spiros Rasidakis
Titles incoporating archive stills by placing them against a plane of breaking glass. Not for the very squeamish…
Title animation using purely motion graphics and clever transitions with a small colour pallete to great effect. Lots of documents.
Avery nice blend of old photographs but mapped onto simple 3D models.
Static titles using close-ups of paper and documents with subtle animation to create a coded typographical sequence.
This sequence block shades the live action and adds it together with animation to create a very bold graphicly styled sequence.
Dexter’s titles include extreme close-ups to get a dramatic feeling of intensity.
Classic title sequence using live action footage placed carefully with credit typography
Classic Title sequence for True Blood. Using a mixture of archive and shot footage with a edgy heavily graded look. Thanks, Bolex.
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We are most proud of managing to create an absorbing sequence which lasted well over a minute of tv time using just one photograph.
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A very rough & ready ‘parallax sequence’ sequence mainly due to the fact that as this promo was not transmitted, the small source images came from ‘google’ but still it proves quite poignant.
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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Animated drawings based around faux interviews with Army personnel.