I Want My

http://www.weareseventeen.com/

The "I Want My MTV Classic" spot created by We Are Seventeen is a throwback to the old style of music branding. Using only hand drawn images and stop motion photography they have created a very genre specific piece that works amazingly. They use many different themes from music history and include famous band elements to draw on the nostalgic feelings. It begins with a David Bowie style face and lighting bolt which cuts in half at the zig-zag line for the transition. The next image is text stating, "I WANT MY" on parchment paper that is pinned on with safety pins. This is illustrating the punk rock era, which is especially evident by using the anarchy A. The image is divided by a zipper that unzips to reveal a sketched KISS face. The face of Gene Simmons has moving eye and his famous tongue that extends. Over the face is yet again I WANT MY in blood red. A light colors the screen orange and yellow giving the concert light vibe. This helps transition to an English flag that is cut out of paper with the text I WANT MY pasted on top. The rough edged look is indicitive of the British invasion that brought over the Sex Pistols among other bands. This peels away in the middle to display Michael Jackson legs walking over a vinyl record which is spinning. The text I WANT MY is in shiny paper which evokes the disco ball feel. This is kept on the screen as the MTV Classic logo comes onto the the center of the screen.

I feel that this video is very effective for the purpose it was created. It is short, simple and covers many things. The fast paced music helps move the animation along while the bright colorful images keep the viewer watching. We Are Seventeen has created something that spans many different genres of music over a span of years. This is perfect for the MTV Classic brand. The rough gritty stop motion style of production adds to this as well.

Samurai

Samurai from Phil Shoebottom on Vimeo.

www.realtimeuk.com

The video entitled Samurai is a very interesting 3d animation. The detail and color in the models and textures is absolutely stunning. The video begins with a fade in on a Japanese character and the word Samurai in front of it. We begin to hear the sound of tribal drums play as the animation begins. As the film starts a samurai in red armor wields his sword towards the blue samurai who comes into the screen. As the blue samurai walks over to his opponent the red samurai takes a fighting stance. Unfortunately the blue samurai does not attack but turns his back on his opponent encouraging action. As the red samurai charges his opponent, the blue samurai turns and throws him over his shoulder. We see this happen in slow motion, which is a nice touch. The blue samurai has his sword to the red samurai's neck, which then retaliates and a sword fight ensures. We see the blue samurai being obviously more adept as this craft and out strikes the red samurai twice. The red samurai, becoming anxious, slams his fist on the ground and readies for another attack. As he charges the awaiting blue samurai they lock swords, red is pushed back but comes again, and this time is struck a fatal blow. The viewer is aware of this because blood splatters onto the screen. The red samurai falls as the blue warrior sheaths his sword and walks away. The entire animation is back-dropped by a stunning environment. There are cherry blossom trees in a small courtyard that is walled and incorporates beautiful architecture. There are cherry blossoms floating in the wind as the warriors fight.

The sound effects of swords clanging, the scuffled footsteps, and the drumbeats all evoke a tension in the battle. The viewer waits for the next attack waiting to see more action. I believe this animation, while short, is very effective in all aspects. The modeling and texturing is phenomenal. This combined with the amazing sound and lighting creates a very unique and special film.

None Shall Pass

Definitive Jux Records
Jeremy Fish

I looked into the music video “None Shall Pass” by Definitive Jux artist Aesop Rock. The animation begins in black and white with a man walking to a time card machine. He then walks into an upside down skull, which flies away. It emerges out of a large skull building at the end of a block resembling New York City. As the skull flies above the city we venture down to street level as the citizens begin to emerge as the day begins. We cut to the skull flying as color creeps in, which signifies the coming day. More people begin to emerge from their buildings and are now in color. A pig falls from the sky and lands on a man's head that turns into a stop motion version of Aesop Rock’s head. More citizens continue to come out as Ace walks across the town dressed as a lion this time, as this happens a shadow passes over the screen which is the skull flying around. We then see an aerial scene of the skull flying through the city. Inside the skull you can see the navigation system. It displays the different animals moving towards the skull building. Flying worms flank the system. As this drops off the screen we are moved through the skyline of the city. After the skyline stops we see a crowd of the different people rushing about their day. This scene continues until two “men” face-off. Thought bubbles pop up and they begin changing appearances, illustrating how everyone in the “rat race” is the same. The camera goes through the crowd until it changes to the flying worms driving a truck to a line forming outside the skull building. We go inside the building and see the line leading to a door. As each person enters and exits they are either hit with a rock or are thrown roses. I believe this is a depiction of judgment at the end of life. The rock signifies hell, while the roses represent heaven. The video cuts back to Ace walking and rapping. The crowd scene returns; as well as the face-off. This time they don similar facades until they achieve their initial look. It cuts back to Ace walking and the line leading to the door. Yet this time everyone is drinking and seem to be partying. As the song ends the man operating the skull clocks back out and he walks out of the judgment door. As we walks out he is hit with a rock, this illustrates that even those who judge people below them must be judged. The video then rewinds back to the beginning showing the cyclical lifestyle that is being led.

I believe that the animation for this music video is put together amazingly. Jeremy Fish, the artist behind the video, has a very abstract style that is completely unique. It pairs very well with Aesop Rock’s lyrical style. The instrumentals on the song lend to the effectiveness of the animation because it has a silly vibe as does the depictions of the characters in the video.

Hallmark

The new branding of the Hallmark Channel by Imaginary Forces is a brilliant composition that captivates the viewer. The logo itself is a 3D script font that is embossed on the background. It begins with flowers blossoming on a lavender background. The logo then snaps out to a full view and changes showing different palettes that could be used such as an obscure view of a wood grain table with dining wear on it. We then get a look at the same lavender background but with a bow tying animation. It then snaps to a line of chocolates being pushed by the left side of the screen with the title of a show and times. It snaps back to the lavender motif, which then zooms in and turns into a rose color as petals are scattered around it. As the beat snaps the color palette changes to display different possibilities for brand colors including brown, light purple, lavender, and rose. The screen then becomes frosty and snowflakes and icicles on the logo. We are zoomed into the K of Hallmark, which then snaps to show different motifs for different shows. These include a wood grain desk with a typewriter for Murder She Wrote, a canvas style background with a lizard crawling on it for Jack Hannah, and an army camo theme for the show Mash, among a few others. The screen continues to change and display an abundance of possibilities for other Hallmark Channel screens. The text that appears on a few includes Storytelling is our Hallmark, Love is our Hallmark, and Surprise is our Hallmark. It then spins back to the original lavender motif and ends.
The music that accompanies the branding is very well composed. The beat moves the animation forward and helps to grab the viewer. The images snap in correlation to the beat, which is a nice effect. Over all I feel that this pitch is very well designed. It illustrates the possibilities for the Hallmark Channel’s advertisements and does it very effectively. The different colors and small additions to each screen encompasses the feel of each individual show. I feel that this is one of the best qualities of this new brand design.

Viva La Vida

The Apple Itunes commercial starring Coldplay caught my attention from the start. The amazing color palette combined with the song Viva La Vida. TBWA, the worldwide advertising agency, really created a stunning commercial for Itunes.

The commercial fades into the lead singer of Coldplay singing Viva La Vida. There are colored smoke effects that appear behind him as he sings and moves. As he moves his hand it seems as if he is moving the clouds behind him. The scene changes to focus on the guitar player who gives off blue colored smoke and exaggeration lines for the movement of the guitar. We again see the lead singer who moved the purple clouds with his hand as the music builds. Once the music picks up its pace we get fast clips of all the people in Coldplay performing their instruments with different color hues surrounding them and color bursts excentuating their movements. For example, we can see the impact circles from the drummer beating on the drum as well as colored lines coming off of the bass guitar as the guitarist plays. The entire background is animated in swirls of color that mimic the look of the OS X operating system. Once the big crash of music occurs a huge sound wave is emitted from the lead singer and the background gets a flash of white and brighter colors. We now see bright pinks and oranges in the background because the music has become more lively. Towards the end of the commercial the colors begin to sink back into the lead singer, which gives the impression that the band was the source of the color. The screen then reads "Viva La Vida Coldplay" in the swirling colors that have been seen the entire commercial. We get a panning out view of the lead singer one last time as the music comes to an end. We are then left with "Exclusively on Itunes."

I believe this commercial is very effective for a few reason. The colors contrast so well that it captures the viewers attention immediately. This coupled with the energy felt from the music and Coldplay's performance creates a very successful commercial for Itunes. The beginning of the commercial makes the viewer want to listen to the entire song, not just the commercial clip, which you find out is exclusively on Itunes. This will push the viewer to use the program over their competitors.

4 Pm

The commercial for IShares investments is a very sleek, short film. The design is straight forward and clearly relays the message to the viewer. The commercial begins with a grey-scale office building in the background and the words "4pm Markets Close" in a neon green. The contrast of the colors works very well and helps grab the viewers attention to the text on the screen. While the text appears a shadow goes across the building displaying the coming of night. The screen then changes to another view of two office buildings. The image begins as a grey but then fades into a dark black. The windows of the office buildings are lit up and they also fade until only one is illuminated. While the lights are going out text appears saying "Ideas up for grabs". The word "Ideas" is in a white text while the "up for grabs" is in the same green as before. The text then fades as well as the outline of the buildings until you can only see the single window. After this the IShares logo and slogan comes up stating, "IShares Think in ideas".

I believe this commercial is very effective for two reasons. It is very short and simplistic. This is good because in the world of stocks and investment portfolios, which is very complicated, a sleek simple commercial works well. It delivers the message that IShares is a helpful investment firm without being overbearing. The second reason the commercial is effective is the flow of the music and text that guides the viewer. The music is a calming guitar riff that flows while the text appears. The entire commercial gives a professional vibe as well as a personal touch because of the simplicity of it.

I am Ironman!

Prologue
Imaginary Forces

I decided that I wanted to take a look into one of my favorite movie' ending title sequences. Ironman' credit sequence, created by Prologue, is a visually stunning, fast paced animation. The Executive Producer of the credits is none other than Kyle Cooper. Cooper was previously associate with the Imaginary Forces design firm, but left and is currently working with Prologue.

The end titles begin with a picture of Tony Stark (Robert Downey Jr.), which then gains a faux finish effect and transforms into a colored outline of the Ironman suit. The animation then dives into Ironman' suit displaying all the inner workings in the neon outlines as the credits pop up on the screen. The outlines begin to look as if they are animated blueprints for the actual suit, which is a very nice touch. The song, Iron Man by Black Sabbath, compliments the credits well because of its connection to the movie and its iconic guitar riffs. The film starts to hit the iconic riffs and the focus changes to images that represent the movie such as the 7 Rings logo and the weapons of Ironman. As the iconic part of the Ironman song plays the colors also change to neon blues, purples and reds, not just the orange that was seen for the first half. We then get to see the outlined version of the first suit Tony created being assembled. This outline is an rustic looking green, which is a very big difference from the heroic blues and reds that create the second Ironman suit. This sutit hen pulls apart to show the newer improved suit underneath, which is a visually stunning scene. The camera then goes inside Ironman again and pans out to display the S.H.I.E.L.D. logo and Jon Favreau's name.

I believe this credit sequence is perfect for the film. Ironman was a very intense, action-packed film and Kyle Cooper captured that feeling in the credits exactly. He goes a great job keeping the viewer looking at the screen because of the bright neon colors which yearn for attention. The music flows very well with the animation and progresses the film perfectly. I highly enjoyed these credits after the film and I'm not in the least bit surprised Kyle Cooper created them. The style and execution are impecable as with all of his other projects. The transitions from each scene to the next so that a new credit may appear are smooth and flawless. I did not think using neon colors on a black background could be so effective or appealing but this credit sequence works.