Last week Sydney played host to the annual Australian Effects and Animation Festival (AEAF) awards
After cocktails and a catch-up at the Event Cinemas, some of Australia’s best animators, directors and producers settled in to honour the best visual effects from the previous year.
A new category was added this year to the awards list: Live Event Visual Effects and Animation.
Here are the list of gold award winners for 2014.
- Idents and Stings: Mirari and Co for HBO South Asia
- Education and Infographics: Resin for Two Left Feet
- Web Viral: Cinesite VFX for Beans
- Music Videos: The Mill for We Are Shining – Wheel
- Student: Sabrina Denault for Any Witch Way
- Game Cinematics: Platige Image for The Witcher 3: Wild Hunt
- TV Series: Screen Scene for Ripper Street Season 2
- Titles and Openers: Actual for TEDxSydney 2014
- Short Film: Autour de Minuit for Habana
- Commercials Animation: Passion Pictures for Nike – The Last Game
- Commercials VFX: The Mill for Smithwick’s Squirrel
- Feature Film VFX: Weta Digital for Dawn of the Planet of the Apes
- Live Event VFX and Animation: Spinifex Group for MCA Projection – Vivid 2014
Congratulations to all the nominees. Keep up the terrific work.
Big congratulations for Patrick Clair’s Antibody in collaboration with Breeder on their well deserved Emmy win with HBO’s True Detective. The title sequence won Outstanding Main Title Design at last week’s Creative Arts Emmys.
Here’s what Breeder had to say about the news :
When Patrick Clair of Antibody first enlisted us to composite eight shots for True Detective’s moody, apocalyptic opening sequence, we could never have dreamt the final result would be so well-received. Working with Patrick and his team was a delight from start to finish, and we send major congratulations their way.
You can also check out Pat’s thank you speech below :
Rubber House sure have been busy over the winter. Following up from their collaboration with Cartoon Network last year, these videos are the instalments of their latest work for Adult Swim. The pieces are funny, grotesque, irreverent and premièred this week as idents throughout Adult Swim’s programming.
For the project the directing duo choose to write and direct the sections separately and ran separate teams side by side from both Sydney and Melbourne. It was interesting to see the personal styles of Greg Sharp and Ivan Dixon untangle themselves into their natural states. Much like their personal Loop Deloop substitutions you can see each artist’s individual sense of humour and aesthetic bleed through more clearly. Its nice right?!
There will be more to come so keep an eye on Rubber House’s Vimeo page!
Ozanimate spoke with director Bailey Sharp about working with Mombassa and the process of making the film clip.
Ozanimate: What was it like working with an icon like Reg Mombassa?
Bailey Sharp: Reg was really easy to work with. He turned over his entire visual catalogue for us to draw from but then was very respectful of what we wanted to do, which was very empowering
Oz: The film (like Mobassa’s work) is heavy in metaphor and symbolism – did a lot of that come from Reg or your team, or both?
BS: Reg gave us two points of reference to work from: Some of his charcoal works showing landscapes choked by industrial junk and his character Business Horse, a rotting horse carcass in a business suit. So we were starting off with these images that are already loaded with political commentary so that definitely did steer us in the direction we went in.
Oz: How would you describe the creative input UTS had on the project?
BS: We were given really freedom to go where we wanted so the team had the bulk of the creative input on the project. The whole idea of Business Horse as this proselytizer of industry who is preying on these animals came from us at UTS.
Oz: Did you get to see the film in front of a live audience? What was their reaction?
BS: Reg organised a great launch for the video at the Deus Café in Camperdown. We watched the video and then Dog Trumpet played two sets and then played live to the animation. It was fun. The reaction went as well as I could have hoped; the laughs came in the right places.
Oz: What techniques did you use?
BS: In the end we decided to re-draw Reg’s characters, with the exception of Business Horse who we took from an existing painting. We made all the other characters in pieces so we could take the individual parts into after effects and animate them with puppet pins. It was important to me to keep it looking like it could have all been done under the camera, we tried to keep any digital stretching or manipulation of the images to a minimum.
The characters were drawn in charcoal. The art director on the project, Haein Kim, did all of the background elements herself- I think she really lived up to what was a very scary task: Trying to mimic an iconic artist’s work, for the artist himself.
Oz: Is there anyone you’d like to thank as part of the process?
BS: The project was the work of a whole team so every one of them deserves thanks. Also lots of credit goes to our lecturers: Deborah Szapiro who organized and managed the project and Damian Gascoigne who heads the Bachelor of Design in Animation course at UTS.
And finally to Reg himself. It was a really great project to be on and we all got some amazing Mombassa prints in the end.
Brisbane’s Griffith Film School is hosting two very exciting events next week. On Saturday July 26 the school will present- Animation Forum: Pedagoies and Practice, and from Monday 28th through to Friday the 1st they will present a Gobelins Animation Masterclass.
Speakers for the forum include-
Adam Elliot: Academy Award™ winning animator with Harvie Krumpet and with an Annecy Cristal for Mary and Max, is a unique and inspiring corporate speaker, his five animated films have won over 100 awards and have participated in over 600 film festivals.
Florent De La Taille: Animation director at Studio 100 Animation and animation mentor with Gobelins, l’école de l’image, his work on major feature films includes Golden Compass, The Tale of Despereaux and The Legend of the Guardians.
Register online @ www.griffith.edu.au/filmschool
FOR MORE INFORMATION, CONTACT:
(07) 3735 0107
Oh Yeah Wow‘s directors Darcy Prendergast and Sam Lewis flew to Belgium to direct this now viral stop-motion video for Gillette’s new razor. Using some clever transitions via some stop motion animation of hair and human pixelation the video shows the evolution of male hair in all its forms over a period of 100 years . Since its release on YouTube on June 24 the video has since been viewed almost 7.9 million times.
Along with its release Gillette also uploaded a making of video to show the process of the two Melbourne Animators working with local talent. Clever marketing !