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The award-winning motion design and production company, Monkeyhead is excited to announce their latest TV show package for Red Bull entitled ‘Pushing Boundaries’. Monkeyhead founder and creative director, Josh Sahley, was approached by the long-time client to create a new opening for their action sports show. ‘They wanted us to bring new life to it. They wanted us to find a unique way to house footage, but not be a typical editorial show open.’ Sahley, known for always finding ways to push their projects creatively, was up for the challenge.

So, how exactly was this achieved? ‘We hit the boards hard and explored multiple options. We did a few more straight forward boards at first, but came up with this surreal idea for the open that seemed interesting and different to us,’ states Sahley.

‘We tried to give each section a world to live in. We made a Red Rock off road world that is covered in dirt bikes and ATV’s. We then made a city world that had skateboarding and street racing elements. Lastly, was a snow world that housed snowboards and skis. After those, the main logo section housed all of the worlds together with extreme acrobat racing planes going throughout it.’ Seems easy enough, right?

With just over a month to execute the open, they of course ran into their challenges. ‘Finding clever ways to get from each designated world took some thinking. The boards didn’t have all the transitions, just the overall feel for the areas, so we were exploring different approaches throughout the process,’ according to Sahley.

(Click here to view the Pushing Boundaries tv show package)

However, that didn’st slow the crew down. ‘We utilized our new Boxx Renderboxx render farm for this project. With that, and Smedge, linking all of our Mac’s and PC’s to make one full farm, we were able to push the project further then we would have with time restraints and last second changes.’

In the end, the outcome was a success. ‘We couldn’t have done the project without our amazing designers and animators. I feel lucky to work with such a fun and talented team everyday.’ And it shows – Leaving Monkeyhead with some very happy clients. ‘They gave us room to really explore and find a good balance for the project,’ expressed Sahley. Which seemed to be the perfect solution for both ends. Simply put, ‘They loved it.’

About Monkeyhead
Monkeyhead was launched in Santa Monica, California, in 2006 by well known Los Angeles motion design artist and creative director Josh Sahley. Monkeyhead continues to evolve its style in delivering groundbreaking commercial spots, broadcast show packages, branded entertainment, movie/TV titles and visual effects sequences.

RELATED LINKS
www.monkeyhead.tv

Popularity: 2% [?]

The first trailer for the debut game from Curt Schilling’s 38 Studios “Kingdoms of Amalur: Reckoning” was unleashed at Comic-Con last week. The 38 Studios team of visionaries sat as a special panel to unveil the trailer called ‘Well of Souls’ which features the work of Zoic Studios. Todd McFarlane, who served as the producer and director of the video, designed the trailer to showcase the action while highlighting the emotions and sense of urgency within the game.

Through a glimpse at the game themes – a hero who cheats death, uncovering the secrets of the past, and a fight to save the world – the cinematic trailer highlights Reckoning spectacular combat and foreshadows the mystery behind the player pivotal role in Kingdoms of Amalur rich history.

“Kingdoms of Amalur: Reckoning,” developed by Maryland-based Big Huge Games, is a new single-player action-RPG sprung from the minds of three of today’s greatest creative visionaries: New York Times best-selling fantasy author R. A. Salvatore, renowned artist and Spawn creator Todd McFarlane, and Ken Rolston, lead designer of the critically acclaimed RPG “Elder Scrolls IV: Oblivion.”

“Reckoning” promises to redefine the action-RPG genre with a brutal, fluid combat experience, immersive open-world exploration, a vast narrative and rich character development.

Popularity: 3% [?]

The Glades, A&E Network new offbeat original scripted drama, which premiers July 11, has been the beneficiary of some great buzz, thanks in part to the comprehensive teaser/promo campaign created by BIGSMACK, the full-service creative/production/design studio led by Creative Director Andy Hann.

Hann and the BIGSMACK team were involved in nearly every facet of the promo effort — from writing the tagline that drives the teaser campaign ”Sunny…with a chance of homicide,” to concepting, producing and designing three :15 teaser spots and a :30 promo featuring series star Matt Passmore. Moreover, BIGSMACK collaborated on the multifaceted outdoor campaign that includes billboards, kiosks, bus and taxi ads, even completely outfitting Chicago ?‚àö√ë‚àö‚â§L’s transit system, as well as an array of online content.

BIGSMACK rose to the challenge delivering a conceptually simple campaign that cleverly taps into the show offbeat, Coen Brothers-esque characterization, coupled with a taut police procedural narrative style.

”We definitely ?‚àö√ë‚àö‚â§got’s the show balance between the quirky characters and crime narratives that makes The Glades work,” Hann explains. ”A&E loved our ?‚àö√ë‚àö‚â§orange’s teaser spot concept and the rest of campaign grew from there. The one similarity between all of the spots is the over-arching theme of things not being what they seem.”

To the strains of Sam Cooke classic song ”Summertime,” ”Orange” begins with a dramatic shot of a glorious sunset behind a photo real 3D animated orange. The word ”Sunny” hovers ominously above the imagery. As the camera tracks back, the mood turns dark as the sun is eclipsed by the orange and the words ”with a chance of homicide” are abruptly split in half by a knife piercing the orange. The spot ends with an overhead shot of the orange bleeding over The Glades logo.

(Click here to view the campaign)

Other teaser spots in the campaign include ”Water,” featuring a slow overhead tracking crane shot of a picturesque swimming pool that ends on a deceased woman floating in the water; and ”Bikini,” which pans over a bikini clad woman face down on a lounge chair revealing a bullet in her back.

The :30 ”Sunny” promo offers a completely different tact. Directed by BIGSMACK director Scott Whitham, the spot features Passmore on a beautiful beach talking directly to camera about how he left the ‘cruel, cold air of the big city for the sunshine state.’

As the spot continues it becomes clear he not on the beach for fun, but rather examining a crime scene. The promo ends with Passmore sarcastically noting how ‘it still pretty sunny, but that just makes the bodies smell worse’ just as camera cuts to show a victim lying on a beach chair. The spots were shot using the RED Mysterium-X digital camera system on location in and around Miami, Fl.

Adds Hann, ”In many ways The Glades was an opportunity for BIGSMACK to showcase what we’sre capable of creatively when we partner with our clients — from concept development to mounting complex location productions, through intricate 3D animation, design and post. A&E showed a lot of trust in us to pull this off, and I’sm gratified their trust wasn’st misplaced.”

About BIGSMACK:
Lead by Creative Director Andy Hann, BIGSMACKtv is a full service creative agency specializing in the broadcast industry. From their offices in downtown Philadelphia, BIGSMACK creates, produces, designs and posts image and promotional campaigns for the world leading entertainment providers. Recent clients include Discovery Channel, Nat Geo, HBO, Comedy Central, Sundance and A&E, among others.

CREDITS
Client: A&E Network
Project: The Glades teaser/promo campaign, outdoor campaign

Agency/Production/Design/Post: BIGSMACK, Philadelphia, PA
Creative Director: Andy Hann
Executive Producer: Heidi Erney, Kelly Dials
Director: Scott Whitham, Andy Hann
DP: Andrew Turman
Line Producer: Kipp Christiansen

RELATED LINKS
www.bigsmack.tv
www.aetv.com/the-glades

Popularity: 2% [?]

Sony Computer Entertainment reached out to Zoic Studios to produce a compelling live-action teaser trailer to launch the return of Twisted Metal in what proved to be the ultimate E3 surprise. The trailer, which was met with enthusiasm from the gaming industry and fans, marked the directing debut for Zoic Studios’ Levi Ahmu, who worked in collaboration with Executive Creative Director Chris Jones on the project.

Featuring a verbal throw-down between classic past and thrill seeking present, personified as taxi drivers, the trailer also includes the return of the maniacal Sweet Tooth. The trailer’s narrative respects the provenance of the title with a wicked wink and nod to what will come with the new release in 2011. The presentation stood out from other E3 offerings with its cinematic tone and pacing.

“We approached the project with a predominantly live-action treatment to give it an unexpected twist and sense of mystery,” comments Director Ahmu. “It was exciting working on something that truly surprised viewers and helped to usher in a new era of a legendary game.”

Click here to view teaser.

Zoic Editorial’s Senior Editor Dmitri Gueer says the challenge editorially “was establishing a gritty, hard-hitting pacing aimed at keeping the audience on edge throughout the trailer. We wanted people to feel uneasy with an eerie premonition that something bad, really bad, is about to go down. I realized that the only way to achieve this was by intentionally cutting away to long shots in places where traditionally you would never do it, and juxtaposing shots that run just a tad long with shots that are cut a touch too soon. I am extremely grateful to our Sony client for giving me the opportunity to edit such a monumental project.”

Zoic Studios
Zoic is an award-winning Digital Studio involved in producing lauded commercials and viral advertising as well as innovative content for episodic television, feature films and the gaming industry.

From visual effects, to live action production and specialty shooting, Zoic Studio imprint can be seen in such compelling entertainment as True Blood, Fringe and Dollhouse; spots for Mountain Dew, ESPN, Craftsman, HP and VW, as well as innovative projects for EA, Gamefly and Sony. Zoic Studios has offices in Los Angeles and Vancouver.

CREDITS
Client: Sony Computer Entertainment
Creative Director: Scott Campbell
Creative Director: Dave Jaffe
Video Producer: Michael Brynteson
Video Producer: Gary Barth
Game Producer: Chad Cox
Game Producer: William Ullman
Game Producer: Zach Wood
Marketing Manager: Scott McCarthy

Production and VFX: Zoic Studios
Executive Creative Director: Chris Jones Executive Producer: Erik Press Creative Director: Loni Peristere Creative Director/VFX Supervisor: Leslie Ekker VFX Supervisor / 3D Supervisor: Andy Wilkoff VFX Producer: Erin Hicke VFX Coordinator: Laura Jones

Editorial Company: Zoic Editorial
Editor: Dmitri Gueer

RELATED LINKS
zoicstudios.com
twistedmetal.us.playstation.com

Popularity: 6% [?]

Company 3 recently completed work on Lady Gaga newest music video, ‘Alejandro,’ which was released on the web on June 7 2010. Directed by Steven Klein and shot by DP Janusz Kaminski, ‘Alejandro,’ the third single from Lady Gaga ‘The Fame Monster’ on Interscope Records, is reminiscent of Madonna ‘Vogue,’ but with a more militant and masculine style.

The video is dark and moody, with stark black-and-white photography highlighting the elaborate dance sequences. Company 3 co-founder Stefan Sonnenfeld performed the color grade for the project, working closely with Klein to achieve the desired look for the project.

‘This was a fantastic project to work on,’ Sonnenfeld commented. ‘I have a tremendous respect for Steven and enjoy collaborating with him.’

In addition to ‘Alejandro,’ Company 3 also performed color grading for Lady Gaga three previous music videos, ‘Paparazzi,’ ‘Bad Romance’ and ‘Telephone.’

(Click here to view the video.)

About Company 3
Company 3 is a comprehensive post production facility for features, commercials and music videos. Known for our creative color artistry, pioneering technology and global reach, Company 3 is trusted to deliver a quality product every time.

Company 3′s incredible talent roster includes John Bonta, Sean Coleman, Siggy Ferstl, Billy Gabor, Dave Hussey, Tim Masick, Victor Mulholland, Stephen Nakamura, Mike Pethel, Tom Poole, Rob Sciarratta, Stefan Sonnenfeld and Matt Turner. Recent commercial projects are campaigns for Audi, BMW, Heineken, Nike, and others.

Recent feature film credits include ‘Alice in Wonderland,’ ‘Robin Hood,’ ‘Prince of Persia: The Sands of Time,’ ‘The Hurt Locker,’ ‘A Single Man,’ ‘Public Enemies’ and ‘Star Trek.’ Company 3 www.company3.com is an Ascent Media www.ascentmedia.com company.

CREDITS
Client: Lady Gaga
Title: ‘Alejandro’
Label: Streamline, Conlive, Cherrytree, Interscope Records
Producer: Jil Hardin
Production Company: HSI Productions
Director: Steve Klein
Director of Photography: Janusz Kaminski
Lighting Designer: David Devlin
Editorial: Avid Diva
Editor: Dustin Robertson
Finishing: Steele Studios
Colorist: Stefan Sonnenfeld
Telecine Producer: Rhubie Jovanov
Label Commissioner: Nicole Ehrlich

RELATED LINKS
www.company3.com
www.ladygaga.com

Popularity: 7% [?]

Five nights of filming on a New York City street, a VFX studio willing to take a leap into the unknown, a young start-up director with a time lapse camera rig he built himself, all for an unforgettable spot. The latest project from animation-expert-turned director Doug Purver paired him once again with conceptual design, animation and VFX studio SUSPECT, and it’s a project they designed to push their own limits-and the industry’s.

With SUSPECT involved in every step of post-production, Purver and the team created a slow-motion narrative that’s both fluid and arresting. In the spec spot, a pair of photo-real New Balance 509 sneakers jogs in super slo-mo along a high speed, time-lapsed streetscape, leaving bursts of beautiful flowers and other plant life that is in stark contrast to the gritty, New York City cobble stone street.

“We started with the idea of green power, of promoting a shoe company that’s committed to the environment and social responsibility,” said Purver, who was part of SHOOT magazine’s New Directors Showcase in 2009. “New Balance is very forward thinking, and they were the perfect brand for the spot.” Although SUSPECT ECD Tim Crean was initially very enticed by the concept “we had real concerns about pulling off something like this. It was very ambitious, on many levels, to say the least.” Undeterred, Purver set out with his camera rig and Canon 5D to come up with a proof of concept test. “The test footage Doug came back with was stunning.” says Crean. “After seeing that, we couldn’t pull the trigger fast enough.”

The spot was created from the last of Purver’s several two-hour long time lapse takes; the camera rig that he custom built captured a three-second exposure every seven seconds while panning over the nighttime street, and caught quick streaks of light from passing cars. He wanted all of the footage to come from one perfect take, and on the eighth try, he was satisfied.

Then, the project moved into SUSPECT’s New York studio. The team went for a lightly-stylized photo-real look that required meticulous post-production and compositing. The SUSPECT team photographed an actual pair of 509 sneakers from every angle, giving them ample reference and true texture maps to create a high resolution 3D model with photo real textures.

The shoe was then put into motion with a highly detailed rig, which had almost as much control as a full CG character might. “A lot of attention was paid to how the shoe naturally ripples and flexes. There were slight differences between how each of the different materials react with one another. We made sure to create the control we needed to showcase those subtleties.” said SUSPECT CG Supervisor Steve Burger. ” We wanted every motion of the CG running shoes articulated properly, down to the laces.” They did the same with the stargazer lilies, daisies, ivy and blades of grass.

The difficulty of animating all of the CG was second only to texturing, lighting and rendering it all realistically. “With gorgeous plants and flora like this, its easy to go overboard with hues and saturation” commented Lighting TD Andrew Cohen. “Doug was adamant about shading the colorful plant life realistically within the context of the gritty, urban street scene. We even animated the lighting to properly interact with the intermittent, streaking taxi lights. It was intense.” TD Dave White added ” Doug even brought each kind of plant on location and photographed it in the natural light of the environment to use as a lighting guide. He was singular in his drive to maintain photorealism.”

As CG plant growth was getting underway, SUSPECT lead flame artist John Geehreng wrangled with the daunting task of match moving the entire, one-shot, 45 sec spot. ” None of the spectacular artistry being crafted in our CG dept would matter if it didn’t track properly to the camera motion. So there was just a little bit of pressure.” quipped Geehreng. What initially seemed a minor task quickly revealed itself to be a monumental challenge. “In spite of all the detail and resolution we had in the footage, not much stays still at night on a bustling New York City street for two hours, let alone two minutes!” Geehreng had to contend with car traffic, pedestrians and light flaring into camera from headlights just to name a few obstacles. “It took several days and placing hundreds of manual tracks, but we got a rock solid camera solve in the end.”

“The intensity of the detail work was the biggest challenge” Purver said. “These guys were challenging and pushing the limit, doing some of their most creative work ever. It was hard but worth it. The animation mixed with this style of time-lapse looks like nothing else out there.”

(Click here to view the commercial and for more information)

“Doug had a unique vision for Running Green and right from the start we were very intrigued about utilizing his custom built time-lapse rig which was the perfect vehicle for this spot” said SUSPECT co-founder and EP Rob Appelblatt. “Our team was super passionate about the concept and collaborating with Doug again as a Director. We put a tremendous amount of work into the piece and I think it really showcases our innovation and attention to fine detail.”

ABOUT SUSPECT:
NY-based Conceptual Design, Animation and Visual Effects studio, SUSPECT was co-founded in 2003 by CD/VFX Artist Tim Crean and Executive Producer Rob Appelblatt, creating an environment that reflects both their personal style and creative sensibilities.

Since then SUSPECT has blossomed into a collective of designers, animators, 3D and VFX artists. Whether it’s a complex Visual Effect, a sensitive Brand solution or a fully design driven concept, SUSPECT consistently surpasses client expectations and produces a dynamic range of creative solutions.

SUSPECT has recently worked on major campaigns for PUMA, Fathead, Eucerin, Reebok, FedEx, MTV, L’Oreal, AT&T, Motorola, Miller Lite, Samsung, Visa, Sierra Mist and Christina Aguilera Fragrances. The studio has collaborated with leading agencies, including BBDO, Wieden+Kennedy, Y&R, McCann-Erickson, mcgarrybowen and SelectNY.

RELATED LINKS
www.suspect.tv

TECH TOOLBOX
Software:
Autodesk Maya
Autodesk SoftImage
Autodesk Mudbox
Mental Ray
CazyBump
The Foundry’s Nuke
Adobe Photoshop
Adobe After Effects
Trapcode Particular

Hardware:
Canon 5D MKII
Canon 17-40mm f4 L-series lens
Proprietary Motion Control Camera Rig
Apple Mac Pro
Boxx Technologies CG workstations
Boxx Technologies Renderfarm

CREDITS
Client: New Balance
Spot Title: Running Green
Air Date: N/A – spec

Prod Co: roadnorth
Director: doug purver
DP: doug purver

Post/Effects Co: SUSPECT
Lead VFX Artist: doug purver
EP(s): Rob Appelblatt, Tim Crean
Technical Director(s): Dave White, Andrew Cohen
Sneaker Animation: Ricardo Vicens
Shoe Rigging: Lee Wolland
CG Artist: Steve Burger
Additional Shader/Texture Artist: Jimbo Rowel
Camera Tracking: John Geehring

Music and Sound Design by Q Department

Shoot Location: Washington & Water Streets, Dumbo, Brooklyn

SOURCE
Read more: http://www.trustcollective.com/portfolio/content/suspect_runninggreen.php#ixzz0uESX3mbO
Attribution: Written content created by TRUST: http://www.trustcollective.com
Under Creative Commons License: Attribution Share Alike

Popularity: 2% [?]

World-class animation studio Nathan Love is very proud to detail its collaborations with director Willis Wong, Lunar Films and Hopr in producing two broadcast/web spots for J. Walter Thompson Shanghai and their clients at NetEase. The innovative spots starring celebrity Jay Chou and promoting Fantasy Westward Journey, one of China’s most popular online games, recently debuted in high-profile broadcast and cable outlets across China.

The first spot brings Fantasy Westward Journey to life in the real-world, featuring Chou, sitting on the steps of the Shanghai Everbright Convention and Exhibition Center, playing the game on his laptop computer as others pass by. Soon, Chou and the strangers around him transform into videogame characters and battle each other on the streets. A second “Promo” spot features the videogame version of Chou performing some of his famous dance moves. For the agency, the project was led by creative director Fei Wei and art director Kevin Huang.

Serving Wong and director of photography Terry Shen as the production company for the project, in partnership with Lunar Films’ executive producer Ken Yap and producer Ace Tan, Nathan Love’s team was involved from the pre-production stage, helping select locations, planning the shoot, and leading all the animation.

“This is our first spot involving live-action visual effects with a combination of CG characters and animation,” said Joe Burrascano, Nathan Love’s owner and creative director. “Getting more involved in live-action has been a major goal for our studio, so we were extra excited about the opportunity. This project is a great first step in that direction, and we look forward to building on the experience.”

Due to the project’s considerable challenges and tight delivery deadline, Burrascano and his colleagues jumped right into organizing the project’s workflow. Based upon the scripts and storyboards, they sorted their needs from the live-action 35mm film shoot in Shanghai, and engaged the artists from NYC-based Hopr to serve as on-set VFX supervisors during the shoot.

“By approaching this project as the VFX supervisor, we were able to better plan and control our methods for completing both spots,” Burrascano added. “Hopr not only helped us get exactly what we needed from the set, in the end, they also provided VFX artistry ranging from clean-up, sky replacements, color grading, and compositing.”

Many of the models for the animated characters were based on existing videogame designs, and Nathan Love’s charge was to take the animation and final renderings to a new level, and make them work with the real-world environment. “Because of the popularity of the game, the modeling and animation were held up to a microscope during every review, so attention to detail was very important,” explained Michael Harry, Nathan Love’s executive producer.

After packing its studio with 20 additional artists, Nathan Love’s assembled crew worked through every project detail in Autodesk Maya, striving to create a visually astounding, action-packed spot rivaling the game itself. For each character’s wardrobe and weaponry, substantial simulations were created to bridge the gap between the videogame’s designs and real world physics. The final steps in the animation pipeline involved a frame-by-frame clean-up and color grade, before the content was passed along to the artists at Hopr, who used eyeon Software’s Fusion for final compositing.

“These collaborations with our friends in China and Singapore have opened up some new opportunities for us, and for the agencies and clients we’re working with,” Burrascano concluded. “We look forward to a long and productive partnership.”

Click here to view web spot.

About Nathan Love
Break out the crayons and beer, because Nathan Love is ready to play! This world-class animation studio is known for creating memorable characters, detailed worlds and engaging narratives, making it a party and inviting your whole crew. Driven by a passion for storytelling, their creative, technical and production capabilities are constantly evolving. Equally at home creating sensational 2D and 3D animation, the studio’s talents span all aspects of project creation and production. They are creators of commercial campaigns, original films, super-fun web content, video game projects, merchandise and more. Besides their extraordinary craftsmanship Nathan Love is also fun and inviting to work with, enjoying daily collaborations with leading creatives, live-action and CGI directors, sound designers, composers, web developers and other artists.

About Hopr
Hopr is an award-winning design studio, creating content for commercials, feature films, installations, and video game cinematics. The studio’s principals include Chris DiFiore, Rodrigo de la Parra, and Makoto Sato.

About Lunar Films
Established in 2004, Lunar Films is regarded as a leading creative production house in China. The Lunar Films team consists of people and talents from different continents all sharing an unwavering belief that the world of film presents no boundaries. Diverse in culture but united in belief, Lunar Films seeks creations that move the heart. Experienced in local as well as international projects, our ambition, creativity and drive continue to spur the company toward greater achievements.

CREDITS
Project Name: “Fantasy Westward Journey TV”
Running Time: :30, :15
Film Location: Everbright Convention and Exhibition Center, Shanghai
Debut Date: July 7, 2010 (China only)

Agency: JWT Shanghai
Creative Director: Fei Wei
Art Director: Kevin Huang

Production Company (Shanghai): Lunar Films
Director: Willis Wong
Director of Photography: Terry Shen
Executive Producer: Ken Yap
Line Producer: Ace Tan

Production Company (U.S.): Nathan Love
Animation Director, VFX Supervisor: Nathan Love
Creative Director: Joe Burrascano
Executive Producer: Mike Harry
Producer: Dennis Samatulski
Project/Rigging Lead: Frank Naranjo
Animation Lead: Scott Douglas
3D Animators: Gordana Fersini, David Han, Kyle Mohr, Ryan Moran, Doug Litos, John Velazquez, Andrew Boccio
2D Animators: Hopr
Rigging: Silje Nilsen, Vadim Kiyaev, Zhenting Zhou, Carlos Sandoval
Lighting and Rendering Lead: Jon Lee
Lighting Artists/Rendering TDs: Isaiah Palmer, Richard Kim, Mats Andersson
Character Modeler: Bryan Eck
Additional Modelers: Youngmin Kim, Isaiah Palmer, Denis Kozyrev, Arsen Arsumanyan
Texturing: Bryan Eck, Christina Ku, Jon Lee
FX Artist: Mothana Hussein, Arsen Arsumanyan
Fur TD: Andy Guttormsson
Cloth TD: Carlos Sandoval
Pipeline Lead: Stephen Mackenzie
Pipeline TDs: Jesse Clemens, Jessica Monteiro, Mikael Spade

Editorial/VFX Company: Hopr
Editor: Hopr
On-Set VFX Supervisor: Hopr
Compositing Lead: Hopr

Music Company: Hush Studio

Sound Design Company: Studio PMPS & Hush Studio
Sound Designers: Jason Choi (PMPS) & Jeff Shen (HuSH)

Final Mix Company: Hush Studio
Mixer: Jeff Shen

Principal On-Camera Talent: Jay Chou

RELATED LINKS
www.nathanlove.com
Fantasy Westward Journey
www.hopr.tv
www.lunarfilms.tv

Popularity: 3% [?]