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In an effects-heavy spot to promote the NFL Playoffs on Fox, Mill New York partnered with first-time director Jun Diaz. Jun, a long-time collaborator with The Mill on such projects as Brand Jordan, Miller and Skittles, adds directing to his repertoire, alongside his career as a prominent editor at MacKenzie Cutler. Mill New York’s Head of CG, Aron Hjartarson acted as Visual Effects and CG Supervisor on this project. As Aron has already worked closely with Jun on many of the aforementioned projects, he understood the intensity and visual style that Jun wanted to communicate in this piece.

Certain consraints led the Mill CG team to realize very early on that way they would have to build a fully CG environment with live characters – a tricky combination. jun and Aron worked efficiently on a strong pre-visualization for the piece, blocking out the basic movements and action. Jun, Aron and Mill lighting/ rendering technical Director, Antoine Moulineau, produced a creative pipeline via the use of online file transfers to critique timing and motion.

Throughout the pre-viz process, they tried to maximize the interaction between the football players and the environment through tackles, collisions, stumbles and near misses. One might think that because of the challenge of properly integrating the characters in their environment, they would have shied away from these physical interactions between the various elements. But in actuality, they realized it was a very useful tool they could employ to help sell the illusion of integration.

Furthermore, Jun and Aron relied on Mill New York Colorist Tom Poole to do high resolution technical passes of the footage. Tom did a first-rate job maintaining all the information exposed on the film, eliminating any guesswork in match-moving and giving the effects team latitude to develop the final grade in compositing as the job progressed. To create the intense, earth-thundering, “middle of a stampede” feel, The Mill team complimented DP Barry Markowitz’s camera work by adding shake and zooms to increase the tension.

The Mill CG artists referenced tight macro imagery and large format photography of urban environments per Jun’s request. Aron noticed the extremely shallow focus in each reference, so he created a plane where everything was sharp but at the same time, rapidly falling out of focus. Thus the areas outside the focus plane became blurry with highlights and visible lens distortions. As Aron noted, “This gave us the opportunity to make some very pretty frames, focusing attention where we wanted while also abstracting the rest of the environment”.

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The Mill, London
40-41 Great Marlborough Street
Soho, London W1F 7JQ
+44 20 7287 4041
info@the-mill.com

The Mill, New York
451 Broadway 5th floor
New York NY 10013
+1 212 337 3210
info@the-mill.com

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For post Brit-punk pioneers Bloc Party, the directorial duo Aggressive, a.k.a. Dan Shapiro and Alex Topaller, completed a 3:48 music video for the group’s wistful single “I Still Remember” off their sophomore album A Weekend In the City (Vice/Atlantic Records). They duo lensed the live-action in London and edited, designed and executed the visual effects at their base in Manhattan, Guerilla FX. The music video, distributed internationally, began airing on stations January 8 after an exclusive run on mtv2 and mtvU.

Aggressive directed the video for the lovelorn new cut that finds the band scattered throughout what appears to be a series of trains. “Since this is technically a one-shot video, we needed to find some manageable ‘building blocks’ to shoot and composite together. Considering the activity of a train car can be broken down to what goes on in its seats, we began by getting two vintage maroon-leather train seats and bolted them to a green stage. This became the stage on which each of Kele Okereke’s memories play out. We shot one pair of seats at a time, keeping the camera locked stationary and getting as much image in frame as possible.

All camera moves were achieved virtually in composite later,” explained Aggressive’s Dan Shapiro. “On every seat, we recreated a particular ‘memory.’ With this toolbox of train seats, passengers and Bloc Party members Kele Okereke (vocals/ guitar), Russell Lissak (guitar), Matt Tong (drums) and Gordon Moakes (Bass), we built the actual structural rows of the train cars, ‘editing’ the scenes by bringing in a new pair of seats as our camera pulls back through the aisle of the train. Since the footage is locked to the actual structure and depth of the train car environment, it helps alleviate the unrealistic flatness that usually goes along with green screen shots.”

Dan’s partner, Alex Topaller added, “The sticky thing about this isn’t the difficulty of any individual shot, but the sheer quantity of footage needed to produce a train car full of different people (and different singing Keles!), all of whom need to appear on screen simultaneously. Crunched for time, which was compounded by the need for Kele’s many wardrobe changes, we ran the set like an assembly line: extras and band waiting in the wings, hop on, sit down, ride the train, hop off. We had everyone available jumping on the set. You can even spot Dan and me in a couple of shots.”

All of this footage, shot in HD on Varicam, was then stuffed into a single Mac Pro desktop, which nearly burst into flames as it valiantly crunched through the massive composites with dozens of simultaneous full-res video streams and effects needed to get the one-shot effect.

Aggressive executed the editing, complex effects and composites at the independent design, effects and post finishing company, Guerilla FX (New York, NY), Guerilla’s Linda Peters completed the online editing assignment for “I Still Remember. “

The music video was produced by Refused TV (Los Angeles, CA) and Executive Producer Cathy Pellow and Producer JP Fox. Nick Sawyer was Director of Photography and Grant Freeman the Assistant Director.

Stock footage for the music video was obtained from Getty Images (New York, NY).

Bloc Party’s “I Still Remember” is the fourth video directed by the Aggressive duo. Their other music videos include: Black Label Society’s “Concrete Jungle” (Roadrunner Records), an action-packed adventure which blends traditional hand-animation techniques with high-end CG; Hoobastank’s “Born to Lead” (Island/Def Jam Records), which sets the popular band on top of a high-speed tank; and Lil Rob’s “Summer Nights” (Upstairs Records), the first high-profile music video for the emerging Chicano Hip Hop industry.

Aggressive is represented for commercial work by New York-based Zero To Sixty (0:2:60) and continues to make their professional home at Guerilla FX.

RELATED LINKS:
www.guerillafx.com
www.0260.com
www.whatisaggressive.com.

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Award-winning visual effects company Zoic Studios have joined the team that helps bring the acclaimed television series “24″ to life. The highly anticipated season six launched on Fox Sunday and Monday, January 13th and 14th delivering the cliffhanger excitement and bold performances for which the show is known.

Zoic will provide both dramatic and invisible effects throughout the season, as Jack Bauer (Kiefer Sutherland) embarks on his continuing high stakes adventure, playing out in real-time, hour by nail-biting hour.

“Zoic has been a fan of the 24 franchise since it started,” says (Zoic Creative Director Loni Peristere) “We have been stalking them truly, as we wanted to be a part of the great work they put forth weekly. We had the opportunity to work with the show’s Associate Producer Chris Cheramie on the pilot “Beyond” and when he called for “24″ this year, we jumped at the opportunity and focused on bringing work to the show which would disappear within its already powerful narrative. We are proud to say we have helped Jack Bauer with some “thrilling heroics” and major disasters this year which you’ll have to tune in to see for yourself.”

New and returning fans of Fox’s “24″ can review extensive recaps, character highlights, sign up for the exclusive newsletter and more at: www.fox.com/24/

About Zoic Studios
Zoic Studios is a leader in producing visual effects and CG animation for commercials, feature films and episodic television. The company’s credits include the Joss Whedon-directed feature film Serenity, Judd Apatow’s Talladega Nights: The Ballad of Ricky Bobby and the upcoming Marcus Nispel Viking epic Pathfinder. The company’s creativity can be viewed in such episodics as “CSI: Miami,” Blade” and “Eureka” as well as in commercials for Mini Cooper, HP, VW, Slim Jim, Xbox and Playstation2.

Built on a foundation that allows maximum flexibility and creative product for its clients, Zoic Studios continues to focus on its own visual evolution. www.zoicstudios.com

Popularity: 3% [?]

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Released in the UK on 12th January 2007, The Last King of Scotland is director Kevin Macdonald’s complex, intelligent and gripping portrayal of Idi Amin’s (Forest Whitaker) horrific dictatorship over Uganda in the 1970s, as seen through the eyes of Nicholas Garrigan, his (fictionalized) Scottish doctor (James McAvoy). Garrigan has travelled to Uganda for the adventure, and wins Amin’s affections, becoming his personal doctor. He enters into a moral crisis as he begins to realize the kind of man Amin is, and begins to fear for his own life as events spiral more and more out of his control…

Beautifully shot by Director of Photography Anthony Dod Mantle (28 Days Later, Brothers of the Head), The Last King of Scotland received its digital mastergrade at Framestore CFC. In addition to the UK and US versions, the Framestore CFC Digital lab team also provided multiple European versions of the deliverables.

The film has been widely acclaimed by reviewers, and not just for Forrest Whittaker’s brilliant performance as Amin. “Macdonald, with cinematographer Anthony Dod Mantle, has a terrific eye for detail and motion,” says The Hollywood Reporter, “The early scenes…are loaded with color, dancing, fast-moving events and music. Then the color grows ever more somber, while lines and shapes become more regular and ominous as the story continues…”

The Last King of Scotland
Fox Searchlight Pictures, DNA Films and FilmFour present,
in association with the U.K. Film Council and Scottish Screen,
a Cowboy Films/Slate Films production
Produced by Andrea Calderwood, Lisa Bryer, Charles Steel
Directed by Kevin Macdonald

For Framestore CFC
Head of Digital Lab Ben Baker
Executive Producer Jan Hogevold
Senior Colourist Adam Inglis
Producer Marcus Alexander
Conform Editor Mike Morrison
Scanning and Recording Manager Andy Burrow
Scanning and Recording Operators Paul Doogan, Joe Godfrey, Jason Burnett, Dan Perry
Retouch and Restoration – Louie Alexander, Aaron Lear, Nick Stanley, Adam Hawkes, Collete Nunes and Stuart Nippard
Data Operators Charlie Habanananda, Maria Michalopoulou, Dan Victoire
HD Mastering Kevin Lowery, Yan Jennings
Digital Lab Engineers Eric DSouza, Ian Redmond

www.framestore-cfc.com

Popularity: 3% [?]

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As audiences tune in to the exciting new FX Network series “Dirt” featuring Courteney Cox (Tuesday at 10pm), they will undoubtedly notice the visual effects that add a unique dimension to the wild twists and turns of the each episode. Engine Room VFX is the exclusive visual effects company on the series, with Andrew Honacker and Michael Caplan as Visual Effects Supervisors.

“It is always exciting to be a part of a show with so much buzz and media energy around it and “Dirt” certainly falls into that category,” says Michael Caplan. “It has also been a pleasure collaborating with the producers on a creative level. While the show is not specifically effects-driven, they continue to dream up fantastic concepts and essentially let us run with them. From the beginning they have afforded us a great deal of license in bringing their visions to the screen resulting in not only an enjoyable overall experience but in my opinion a better final product. Needless to say we are looking forward to many more episodes to come.”

On “Dirt,” Cox plays “Lucy Spiller,” the editor-in-chief of Dirt Now, the country’s most widely read tabloid. Lucy possesses a maniacal dedication to exposing the truth about celebrities, for reasons she has yet to fully fathom. The series revolves around the dynamic Spiller, a schizophrenic paparazzo, a struggling actor trying to make a name for himself and his A-list, movie-star girlfriend.

Dirt was created by Matthew Carnahan, who is also an executive producer of the series. Joel Fields, Courteney Cox and David Arquette are executive producers. FX, Touchstone Television and Coquette produce the series.

For additional information about the original series, please visit: www.fxnetworks.com/shows

About Engine Room VFX
Engine Room defines the future of filmmaking, fusing the lines between production and postproduction until they disappear. How? By integrating the entire process into one streamlined effort, resulting in a powerful environment for imagination and experimentation. Discover the incredible benefits of working with a talented specialty shooting unit and digital effects team under one roof. The hybrid studio is known for its extraordinary work for clients in the feature film, teaser/trailers, commercials and broadcast arenas. www.engineroomvfx.com

Popularity: 3% [?]

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At long last, the Monkey and Al from ITV Digital fame have returned to our screens! ‘The Return’ features Monkey and Johnny Vegas in a new campaign as the faces of PG Tips. Directed by Danny Kleinman through Rattling Stick for Mother, our favourite TV stars re-unite over a brew in Al’s kitchen.

‘The Return’ opens with the knitted star tuning up at AI’s house late one rainy night. After an initially frosty reception, in which he is berated for leaving his friend when he needed him most (when the “telly thing” went belly up). Dirty from his long nights trucking, Monkey is popped in the washing machine and treated to a cuppa, over which he and AI plot their advertising comeback.

To bring Monkey to life puppeteers were used during the shoot for all the Monkey scenes, and therefore there were puppeteers in every shot. The main challenge for lead flame Judy Roberts and The Mill London team were the extensive puppeteer and rig removal shots. All shadows and a number of backgrounds were rebuilt in flame for the kitchen night scenes – lightening and rain effects were also recreated for these shots.

For the outside ‘monkey on front of lorry’ truck shot The Mill team added a 3D background in order to create headlights, an effective background and atmosphere. The kitchen table scenes were very time consuming due to puppeteer removal and the 3D monkey legs that had to be built. Parts of the floor were also replaced in 3D where the puppeteers once stood.

Stills were taken for all views seen through all windows and composited in flame which was then colour corrected in the grade. For the rainy night shots rain effects were created on real window panes and the street light effects were added all in flame.

Senior colourist Mick Vincent graded the film in Spirit.

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The Mill, London
40-41 Great Marlborough Street
Soho, London W1F 7JQ
+44 20 7287 4041
info@the-mill.com

The Mill, New York
451 Broadway 5th floor
New York NY 10013
+1 212 337 3210
info@the-mill.com

Popularity: 3% [?]

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!mpossible Pictures, an award-winning creative digital studio, has just created a gorgeous show open and graphics package for “Hometown Gospel,” a new series on the Gospel Music Channel.

The “Hometown Gospel” show is a travelogue featuring several cities across the US with a robust gospel music history and a thriving modern gospel music vibe. The world premiere of the show provided a peek into the music roots of Detroit.

The visually vibrant show open for “Hometown Gospel” incorporates slick animation and reflective surfaces as the camera takes viewers through a 3D cityscape – complete with buildings, water tower, light poles, and birds — and ends up in front of a church.

!mpossible Pictures was tasked with designing a unique show open and graphics package for the new series that would also maintain consistency with the Gospel Music Channel brand.

“I’ve been a big fan of !mpossible’s work, and was looking for the right opportunity to collaborate with them,” remarks Randy Martin, Executive Producer of Flying Saucer Films, the show’s production company. “The ‘Hometown Gospel’ package was the perfect project for them. Gospel Music Channel has a fantastic on-air identity so the bar had been set very high for us with this new show. !mpossible came up with a design that blew the roof off!”

Jean Pichot, the designer for !mpossible Pictures, presented the concept of traveling in 3D space, as well as initial animations of the open to the client for review. Once the design was approved, Pichot worked on photographing various elements around a town and then re-creating and layering them in 3D. This also included accentuating the levels of reflections, light flares and color tweaks.

“Jean’s work is spectacular,” comments Steve Urbano, !mpossible Pictures Creative Director. “We felt his design aesthetic was the perfect fit for this project. He created an open that is layered with natural and organic elements of a typical city, yet is graphically stunning.”

Once the open was approved and built, it became the design theme for the rest of the graphics package for the show. !mpossible delivered a complete graphics package for “Hometown Gospel” including bumpers, lower thirds and backgrounds.

“The Gospel Music Channel has a very open design sense regarding the look of their network,” concludes Urbano. “But since the network is so new, their only criteria was that we incorporate the network’s logo into the show graphics. !mpossible was really excited to help the network launch this series and we got a lot of freedom from them to turn the ideas we had into reality for the graphics package.”

ABOUT GOSPEL MUSIC CHANNEL:
Launched in October 2004, Gospel Music Channel is the first 24-hour all-music television network devoted to the best of gospel/Christian music. Led by cable network veterans Charley Humbard, Discovery Channel’s former general manager of digital networks, and Brad Siegel, former president of Turner Entertainment Networks, Gospel Music Channel is currently available on cable systems in 90 markets and more than 3000 cities nationwide. From the soulful sounds of Yolanda Adams to the country roots of Randy Travis, to the contemporary stylings of Kirk Franklin, Mercy Me, and Amy Grant, the Gospel Music Channel celebrates a musical genre that crosses cultures and generations and delivers a fan base so large it deserves its own network.

ABOUT !MPOSSIBLE PICTURES:
Located in the heart of historic Lower Downtown Denver, creative digital studio(TM) !mpossible Pictures produces commercials, network promos and design for television and advertising clients. The company of directors and artists tirelessly guides their clients through a unique process to realize their most ambitious visions. Services include creative direction, live action production, broadcast design, animation/visual effects, editorial, and finishing utilizing industrial strength tools like Flame, Smoke, Softimage XSI, Maya as well as After Effects and Final Cut.

!mpossible Pictures has produced award-winning work for clients such as Disney, Universal Studios, Discovery Channel, National Geographic Channel, DISH Network, and Ford. In addition to past Emmys, Clios, Addys and Art Directors awards, the artists of !mpossible Pictures recently won a 2006 Gold BDA Award in Total Package Design for the NRB Network, as well as regional Emmys for their graphics package for the Colorado Avalanche NHL team and a commercial for Ford Motor Company.

Popularity: 3% [?]

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Just days into the New Year, and Framestore CFC has already equalled its own remarkable record in the annual VES Award nominations, announced on 8th January. Matching last year’s feat, company members gained no fewer than seven nominations in the Fifth Annual VES Awards. The nominations span three different media – commercials, television and film – more than any other single company, marking a unique achievement for the UK facility.

The nominated categories are:
Children of Men – Best Single Visual Effect of the Year
Children of Men – Outstanding Supporting Visual Effects in a Movie
Prehistoric Park – Outstanding Visual Effects in a Broadcast Series
Rexona/Sure ‘Go Wild’ – Outstanding Visual Effects in a Commercial
Geico ‘Chat’ – Outstanding Animated Character in a Live Action Broadcast Program, Commercial or Music Video
Coke ‘The Greatest Gift’ – Outstanding Created Environment in a Live Action Broadcast Program, Commercial or Music Video
Coke ‘The Greatest Gift’ – Outstanding Compositing in a Broadcast Program, Commercial or Music Video

Particularly gratifying among this year’s nominations were the three received for projects created by the company’s US Commercials team, Framestore NY. Since setting out its stall in New York just three years ago, Framestore NY has made an impact out of all proportion to its modest size, and these nominations mark yet another milestone in the US team’s remarkable progress.

Founded in 1997, the Visual Effects Society is an organization comprised of visual effects artists desiring to honour, advance and promote visual effects for its membership and the industry as a whole. Society headquarters are located in Los Angeles, CA with approximately 1,300 members in 16 countries. The Awards were first given in 2003, and this year they recognize outstanding visual effects in twenty one categories of film, television, commercials, music videos and games. Nominees were chosen by a panel of over eighty visual effects professionals.

Framestore CFC has consistently performed well at the VES Awards. Since their inception in 2003, the company has won a total of ten trophies, including three of the four ‘Outstanding Visual Effects in a Commercial’ Awards.

Winners will be announced at the 5th Annual VES Awards gala on February 11, 2007 at the Kodak Grand Ballroom in Hollywood.

Popularity: 3% [?]

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Part of U2’s long-standing notoriety is their ability to “wow”. From amazing live performances to personal humanitarian crusades to jaw-dropping videos, the band always seems to do things to the fullest. They deliver once again with “Windows in the Skies”, a video directed by Gary Koepke. The Mill was fortunate enough to team up with Modernista!, the agency where Gary resides as Creative Director, on this project.

Selecting and referencing artists who reflect U2’s sensibility, The Mill and Boston-based Modernista! created a compilation of various musical talents “singing” the U2 songs. Footage of artists as diverse as Elvis Presley, Beyonce, Bob MArley, Louie Armstrong, Nirvana and manu others in live concert are spliced togeather to create a distinctive piece.

The editing process was monumental with the editors searching through hundreds of hours of footage. It was an incredibly tedious effort finding moments in the performances that work. Equally as impressive was the clearance and rights approval process that Modernista! went through for each piece of archival film. The edit constantly evolved throughout the online, even until the final delivery day.

Modernista! turned to The Mill New York’s creative team to lift the project to the next level. “It was a highly collaborative process” said Mill Creative Director Angus Kneale. The Mill New York assembled one of the more unique workflow environments for the project. Two editorial workstations were integrated into the Flame suite. This allowed Mill Lead Flame Artist Dan Williams to be heavily involved in the rights approval process, compressing timeframes continually.

Dan along with a sizeable team at The Mill New York integrated all the footage and carefully finessed the lip-sync to match the lyrics. It was important to maintain the magic of the spot by producing mouths that felt natural and unaffected. A range of techniques were used, mostly simple time warps and speed changes. In some rare cases, complex mouth manipulations were performed in order to achieve the required sync. It was important that the work generated did not detract from the integrity of the video.

In addition to the seamless effects work, the theme of light and red was used to tie everything together. Extra light effects were added to emphasize the melody of the piece and give the images their own rhythm.

The final piece was a masterpiece of creativity, tenacity, and a little bit of luck.

“Window in the Skies” is one of two new tracks on their collection of hit singles spanning their nearly 30-year history, entitled “U218 Singles”.

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The Mill, London
40-41 Great Marlborough Street
Soho, London W1F 7JQ
+44 20 7287 4041
info@the-mill.com

The Mill, New York
451 Broadway 5th floor
New York NY 10013
+1 212 337 3210
info@the-mill.com

www.the-mill.com

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In “Living Green,” part of a new four spot cinema campaign by the award-winning design studio nailgun* for auto maker Mercury’s hybrid Mariner SUV and Milan sedan, a round-cornered box emerges against a flat white background then quickly reveals a lushly-animated tree leaf and two bold green arrows. As one arrow curves gently away from a blue city skyline, the other heads straight toward a stylized couple enjoying a country picnic.

A lush, butterfly-accentuated environment forms on pace with the arrows, eventually becoming the backdrop for a pristine Mariner. The campaign was created for ad agency Young & Rubicam, Dearborn, MI, and can be seen at Landmark cinemas nationwide and on the web at www.discovermercury.com.

“The Mercury spots represent a successful foray for us into film work,” says Erik van der Wilden, Director of Editorial and Animation at nailgun*. “This was our first job delivered at 24 frames per second and 2K resolution. The agency liked our creative sense, and had confidence that we could handle any technical issues that might arise.”

Indeed, the four elegant yet complex, 3D animated spots reflect the scope of nailgun*’s creative sense and technological understanding. While “Fresh Air” presents a vibrant setting with brightly colored cyclists and umbrella’d restaurant patios, “City Nightlife” and “City Summer” present decidedly more urban scenarios to promote the Milan sedan.

“We had an intense period of creative planning with Mercury at the beginning,” says Michael Waldron, Creative Director at nailgun*. “Every spot presents a certain metropolitan lifestyle, and it is only as you proceed into that lifestyle that you encounter the automobile representing it. Following the initial collaboration, we worked on a series of animatics to choreograph all the elements in the spots. After we established our workflow, we started bringing things into the 3D world. All of these steps took time and we still had to consider the extra time required to work at 2K resolution. It was definitely a challenge. The client subsequently wanted to highlight the Hybrid angle, which added another wrinkle to the creative.”

Adding to the schedule were the highly detailed models of the cars provided by the agency. While accurate to the very last detail, the large files threatened to significantly slow down delivery on an already tight deadline. nailgun* came up with a quick and novel solution.

“The initial CAD (computer-aided design) files had a lot of detail that was unnecessary to our purposes,” explains van der Wilden. “Since the spots only showed the exterior of each car, we didn’t need to know about the structure of the engine. All that information would only bog down our animation and render time. We actually rebuilt the exteriors of each car to reduce the number of polygons by as much as a factor of 10. That really helped speed up the process.”

“Y&R came to us with a few styleframes, but ultimately gave us a lot of creative freedom,” says Waldron. “We created everything in 3D using Autodesk Maya, keeping an eye on maintaining a level of highly stylized realism. Above all, we wanted the spots to be cool and memorable enough to drive moviegoers to the Mercury website.”

While the spots will initially play only in cinemas, the nailgun* team maintained the possibility of general broadcast as well. “We worked hard to ensure that Mercury would have the freedom to use these spots again down the road,” says van der Wilden. We designed far beyond the letterbox format.”

For Santiago Castaño, who oversaw nailgun*’s staff of 3D animators, the greatest challenge was creating realistic movement for the 3D characters that appear throughout the spots.

“There’s a lot of movement in these spots ­ people walking, riding bikes, rollerblading, dancing ­ and while it all seems completely natural, making it look that way and blending it all into the whole scene seamlessly was difficult,” said Castaño. “A lot of the animation is photo real and that took a lot of time to render. This was a huge test for us to see if we could pull off this level of animation for cinema and I think we passed with flying colors.”

About nailgun*
With a strong belief that great art derives from making creative choices and sticking to them, veteran graphic designer Michael Waldron and editor/animator Erik van der Wilden launched motion graphics house nailgun* (www.nailgun.tv) in 2003. Since then the BDA Gold award-winning creative shop has been pushing boundaries while exceeding client goals with standout work for top advertising agencies and broadcast networks. Their clients include such companies as ABC News, HBO, HGTV, Crispin, Porter + Bogusky, Publicis and McCann-Erickson NY.

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Creative Credits:
Client: Ford Lincoln/Mercury
Project: Mercury “Colors” Campaign

Agency: Young & Rubicam, Dearborn, MI
Producer: Drew Titran

Design/Post: nailgun*, New York, NY
Creative Director: Michael Waldron,
Director of Animation + Editorial: Erik van der Wilden,
Managing Director/Producer: Elena Olivares,
Associate Producer: Shane Dolly
Lead Designer/2D Animator: Dae Hyuk Park
Designer/2D Animator: Charles Kline, Jong Soo Kim, Chris Harmon
Designer: Lisa Eunhae Kim
Senior 3D Animator: Maurice Caicedo
3D Animator/Lead Character Animator: Santiago Castaño
3D Animators: Roger Hom, Hyunmi Kim, Chris Hill, Jackie Liao, Ajit Menon
3D Modeler: Pavel O. Ivanov

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