Happycamper, the Scandinavian, multi-functional, design driven Motion Design duo was awarded the China Mobile project in August of 2011 and we were very excited to get the opportunity to work with a Chinese agency and client. The idea was to produce three spots, a 60 second and two 30 second variations, for their Wireless City-services.

In mid-November they finished everything and the spots aired on December 1st in China.

Their vision was to create a unique world of happiness and warmth by mixing physical miniatures with CG-characters.

They worked out the concept for all the characters with help from talented artist Vaidas Bagonas. The final models were done by Milford.

The displays play a vital part in all the spots. In order to make them blend in with the very analogue feeling, the happycampers gave them a clay-ish, handmade look.

The Animatic

The Shoot

“In September we went to Bristol, UK for a 5-day shoot at the Bottle Yard. We filmed all the background plates including houses, trees and all other inanimate stuff. It was awesome to see the talented artists of Codsteaks work on creating all the small props. Almost like being a little kid again.

It was a truly terrific crew to work with and the catering made us never wanting to leave!” said Andrés Rosas Hott Founder/Director/Creative Director

Watch the China Mobile spot on motion.tv

CREDITS

HAPPYCAMPER

Director: Andrés Rosas Hott
Director: Robert Rosén

STINK

Executive Producer: Daniel Bergmann
Executive Producer: Desmond Loh
Producer: Giles Johnson
Production Assistant: Ni Ding

OGILVY BEIJING

Associate Creative Director: Yun-Sheng Tu
Group Account Director: Li Yu
Associate Creative Director: Gang Ye
Art Director: Jiafeng Wang
Producer: Jing Li

CODSTEAKS

Art Director: Matt Sanders
Project Manager: Renae Cronin
Managing Director: Sue Lipscombe
Art Dir./H.O.C: Paul Drake
Prop/First Aider: Louise Vergette
DoP: Fred Reed
1st Assistant Director: Toby Sherborne
Music & Music publisher: Sharon Chin from Two AM

MILFORD FILM & ANIMATION

Executive Producer: Johan Gustafsson
Production Manager: Martin Widö
VFX Supervisor: John Roxenhed
Model Supervisor: Jonas Moberg
Light Supervisor: Robert Krupa
Animation Lead Artist: Tim Van Hussen
Lighting Lead Artist: Hannes Drossel

Animators:

Antonio Deiana
Martin Joas
Jonas Forsman
Martin Haglund
Christofer Brandtieng
Onni Pohl

Modeling/Texturing:

Daniel Axelsson
Daniel Bystedt
Gustav Tell
Kristian Mårtensson
Kenneth Nyman

Lighting:

Daniel Holmgren
Stefan Lagerstam
Simon Rainerson
Damir Filipovic

Rigging:

Gabriel Pettersson
Serena Tripepi

Compositing:

Victor Sanchez
Ilia Negrescul
Jonathan Harris
Marcus Krupa
Fredrik Höglin
Samuel Schulthess

Match Moving:

Sebastian Ekman
Ilia Negrescul

Broadcast design & animation studio motion504 recently teamed with NBC-owned network, Chiller, to create a comic-book-influenced promo for the upcoming movie, “Remains,” based on the graphic novel of the same name by Steven Niles. The movie premieres on Chiller on December 16th.

Niles’ “Remains,” Chiller’s first original film, journeys to Reno, Nevada where a horrific blast has turned the locals into the ravenous undead. A group of remaining humans takes refuge in a vacant casino and fights a losing battle against the undead, who grow steadily stronger, smarter and more aggressive by the minute.

“We came to motion504 with a very rough edit and asked them to design a visual treatment for the trailer,” says Brian Everett, Chiller Design Director. “The goal was to connect to the story’s (graphic novel) origins, while at the same time capturing all the visceral action the film has to offer. On a rather tight timeline, they created an animation toolkit that’s slick, textural, and really helps elevate the footage. Being that ‘Remains’ is Chiller’s first original movie, it’s been great to collaborate with the team at motion504 and develop a piece of communication that’s both scary and stunning.”

To stay true to the movie interpretation, motion504 Creative Directors Scott Wenner and Amy Schmitt hand-sketched detailed frames from the film itself. As they were illustrating, motion504President / Creative Director Andrew Reynolds began creating animatics and tests, building the sequence simultaneously to accommodate the short timeline. After refining the edit, the three then animated the scenes, giving life to the piece by adding movement and distortions to the environments and zombie characters.

To stay true to the movie interpretation, motion504 Creative Directors Scott Wenner and Amy Schmitt hand-sketched detailed frames from the film itself. As they were illustrating, motion504President / Creative Director Andrew Reynolds began creating animatics and tests, building the sequence simultaneously to accommodate the short timeline. After refining the edit, the three then animated the scenes, giving life to the piece by adding movement and distortions to the environments and zombie characters.

With the short turnaround time, motion504′s hands-on approach worked well, with Reynolds posing as a zombie for a number of the shots, and Schmitt and Wenner using their own hands for reference to create elements.

Dozens of pencil sketches were scanned and colored in Photoshop. Animation was executed in After Effects, using a wide variety of techniques to give life to each scene.

Watch Remains on motion.tv.

Credits
Project Title: “Remains” promo

Client: Chiller
VP Creative Director, Chiller/Syfy: James Spence
Creative Director, Chiller/Syfy: Shea Pepper
Design Director, Chiller/Syfy: Brian Everett
Writer/Producer/Editor, Chiller/Syfy: Dan Frome
Project Manager, Chiller/Syfy: Bill Ikin

Broadcast Design & Animation Company: motion504/Minneapolis, MN
Creative Directors: Andrew Reynolds & Scott Wenner
Illustrator: Scott Wenner
Animators: Andrew Reynolds, Amy Schmitt & Scott Wenner
Executive Producer: Eric Mueller

Tools: Photoshop (initial coloring), After Effects (animation)

About motion504

motion504 is a broadcast design, effects and animation studio specializing in the art of motion. Featuring the talent of senior-level creative directors, designers and animators, the company works for TV, film, music and advertising clients.

With its open studio space, motion504 is built upon the idea of collaboration through communication, critique and contribution amongst its artists and clients.

For the new campaign for Hertz’s Gold Plus Rewards membership, Superfad bathed cities, cars, flowers, and Hertz’s new mascot Horatio in the gilded hue.
 

 

Superfad previously worked with DDB New York on a previous Hertz spot that introduced Horatio in a cameo: This time the agency decided to give him a starring role in “Gold Is Better” a spot also marks Hertz’s first fully animated commercial in twenty years. To expand on the character of Horatio, Superfad went through extensive development to capture both his swagger and his charm.
 

 

A charm that is further added to by the voiceover talent of the inimitable Owen Wilson. Superfad Creative Directors Kinda Akash and Brian Drucker created a friendly, clean look to the Hertz world that is bursting with life, while the 3D team devised a style based on simple geometric shapes. The result is a vibe that’s pure sunshine.
 

 

Watch the video on motion.tv.
 
Credits:
Production Company: Superfad
Creative Director: Kinda Akash
Creative Director: Brian Drucker
Designer: Sarah Ancelmo
Head of CG: Todd Peleg
Technical Director: Jin Lin
3D Animation: Matt Parent, David Dam, Will Robertson
Compositor: Jim Forster
Producer: Dina Chang
Head of Production: Nicole Stevens
Executive Producer: Geraint Owen

For client Hasbro, Gravity has produced a stunning, action-packed, 30-second animated spot which brings the “Battleship Live” board game to life. Gravity produced the spot through agency UPROAR! Zviah Eldar, Gravity CEO/Chief Creative Director, and Bob Samuel, Gravity’s CMO/Executive Producer, made the announcement. The Battleship LIVE spot was part of a larger package that Gravity produced for Hasbro and UPROAR!, which also included spots promoting “Monopoly LIVE” and other products.
 

In the Battleship LIVE spot, we see a fast paced aerial view of a fleet of battleships as they come under attack by a squadron of fighter jets. Seamen onboard the ships retaliate to the attack by firing missiles against the invading air force. Explosions abound as an enormous tower suddenly emerges from the sea, shooting red lasers at the enemy aircraft.
 

Said Samuel, “Almost everyone here grew up playing the classic ‘Battleship’ game, and now, many of us play it with our kids! So the opportunity to work on this spot was exciting right from the start. The fact that this assignment allowed Gravity to create some really kick-ass photoreal military animation was more than enough for us to embrace this terrific project.”
 

Gravity’s Creative Directors Harry Dorrington and Yuval Levy led the team. Dorrington, also Director of the spot, said, “Our goal with this spot was to provide a visceral, highly realistic piece of animation that would serve as a ‘call to action’ so that viewers will visit the website to learn more about the modernized version of this classic game. Viewers will be intrigued and excited by this new twist on the traditional Battleship – which is now electronic and features a massive control tower. We depicted one naval force challenging another in this piece, keeping the fun of the traditional game intact, while notching up the excitement to a new dynamic level. We initially provided our clients with start frames and treatments to help bring this spot to life, and we ultimately delivered a feature film-style reference to the animated battleships, jet fighters, and turbulent seascape within the narrative.”
 

Says Levy, “We wanted to make a strong visual connection for the viewer here, between the classic Battleship board game and today’s modern era videogame play. To do so, we took a videogame cinematic style approach, depicting to our viewers that playing this famous game is still as exciting as it’s always been, but now that it’s been updated and modernized with an electronic tower, the imagination of the player is now even more heightened than in the past. Perhaps our biggest challenge in the spot was to create the CG water and water simulations, presenting the clash of these two massive naval forces in a hyper realistic way. To us, this spot is comparable to a movie trailer for an imaginary film – it presents the buildup to a dramatic war, with the viewer wanting to see how the action will ultimately play itself out in the end.”
 

UPROAR! Chief Creative Officer Erik Nelson said, “We enlisted the help of Gravity to deliver triple AAA video game quality animation for the newest innovation from Hasbro – the LIVE game tower. This new way to play face to face has been built into two of Hasbro’s biggest brands, Monopoly and Battleship. Our challenge was to get kids, tweens and teens to choose this new evolution of board gaming over the vast array of digital gaming options. To make the challenge even more difficult, we were burdened with a lean budget and a tight timeline. The concept was to bring the fantasy of each gaming experience (Monopoly & Battleship) to life in CG, and then introduce the new, all-powerful LIVE Tower to disrupt the action. The result would show the dynamic new gameplay the LIVE Tower adds to each game.”
 

“Harry, Yuval, Russ and the entire team at Gravity delivered in spades,” Nelson continues. “The end product was truly beautiful animation with a very unique look. Our goal of appealing to our target by playing in the visual world of video games lent an authenticity to Monopoly and “Battleship Live” that I believe is sure to drive sales. We are looking forward to the holiday shopping season to see how LIVE performs at retail. Win or lose, UPROAR! will most definitely be working with Gravity again in the near future.”
 

Adds UPROAR! Creative Director Dan Lombardi, “When we approached Gravity’s Bob Samuel about its this live gaming project, we had three issues…1) Timing, 2) Budget and 3 Quality for the Timing and Budget. The Gravity team took on the challenge and never looked back. UPROAR!’s goal was to create a new vision for classic board games like ‘Battleship’ and ‘Monopoly,’ and show how these games are evolving for the next generation of board gamers. Gravity brought an energy and enthusiasm to the project that matched our own.”
 

He adds, “From the first pitch materials to the final cut, Gravity went above and beyond, and never failed to impress. Plenty of obstacles were thrown in their path, yet the Gravity team kept its focus on moving forward and turning out the best commercials possible. When the project started out behind schedule, Gravity forged ahead and continued to churn out top quality animation. Without their commitment and focus on the big picture we would have never been able to have the success we’ve had.”
 

“Harry, Yuval, Bob and the Gravity team brought a ‘can do’ attitude to the project, and a sense of optimism that kept it moving ahead, on time, and on budget. And the results are stunning. We couldn’t be happier with the final output,” Lombardi concludes.
Watch the Battleship LIVE spot on motion.tv.
 

Credits
 

Client: Hasbro
 

Agency: UPROAR! Dallas & New York
Erik Nelson, Chief Creative Officer
Dan Lombardi, Creative Director
Mark Mazut, Creative Director
Mindy Miller Berg, Amy Shore, Agency Producers
 

Production, Visual Effects & Editorial Company: Gravity, New York
Zviah Eldar, CEO/Chief Creative Officer
Harry Dorrington, Director/Creative Director
Yuval Levy, Creative Director
Russ Dube, Producer
Karen Bianca Bisignano, Head of Production
Bob Samuel, Executive Producer
 

Music & Sound Design: Amber Music
Sound Design: Andy Brannan
Composer: Eugene Cho
Music Supervision: Mike Perri
Executive Music Producer: Michelle Curran
 

About Gravity
 

Gravity is an international visual effects, design and brand communications company with proven expertise in three integrated divisions: Features & Television, Commercials, and Digital. With 250 talented professionals across offices in New York, Los Angeles, Connecticut and Tel Aviv, the company is a widely renowned generator of high-end visual effects, creative content, motion graphics design, animation, branding, and digital strategy.
 

The company’s clients include Universal Pictures, Warner Bros., DreamWorks, Sony Pictures Entertainment, HBO, Paramount Pictures, The Weinstein Company, Dimension Films, Coca-Cola, General Motors, Mercedes Benz, Verizon, Pantene, MGA Entertainment, Carlsberg, Kmart, and Braun. Gravity’s recent feature film credits include “Tower Heist,” “Crazy, Stupid, Love”, “The Adjustment Bureau”, “Arthur”, “The Other Guys”, “Salt”, “The Reader”, and “Ghost Town.” The company’s television credits include HBO’s “Bored to Death”, “The Sopranos”, and “Sex and The City.”
 

Gravity has offices in New York and Santa Monica.

Have you had the pleasure of meeting Brian Bowman yet?

Whenever we meet someone, they’re always introduced by their title. Brian Bowman is the Creative Director at Nice Shoes. Kinda leaves you wanting more, doesn’t it?

So, I’m just going to dwell on one word in Brian’s title. Creative.

Brian Bowman is indeed creative. No questions asked. He is passionate about his work.

So what happens if you take a creative person like Brian, and put him in an environment that nurtures creativity – like the New York-based studio, Nice Shoes? Verses: Found.

Verses: Found
Manhattan. 7 am on a Sunday in September, 2009. Sitting on a park bench in front of a Korean deli, locked out of my building. It was a cool, beautiful morning typical of early September, which made it hard for me to be grumpy about my predicament. The sun was coming up later and lower, an indication of autumn’s approach. A piece of paper blew up against my foot. I picked it up. It was a poem, with no name or signature.

The more I read, the more I wondered about the poem’s anonymous author. Who wrote this and why? I began to conceive of a film that would speculate on the author’s intentions and words. There was an intrinsic tension to the abstract verses; one line implied gratitude while the next deferred it. Visually, what would that look like, what could that be?

Nice Shoes recently produced a series of stereoscopic 3D poetry-based shorts they call “Verses”. Poetry mixed with visual effects is an unusual combination. But that was part of the challenge. The artist – Brian Bowman in this case, took a short poem and interpreted it visually. He based his creation on a poem that he literally found scrawled on a piece of paper that caught on his shoe as he was walking down a street in New York City. Artist unknown.

This is elaine montoya – chief imagination office at the motion group. Come meet Brian Bowman – along with many of the top creative minds in the motion picture, broadcast, and design industries.

Join Nice Shoes Creative Director Brian Bowman as he describes making the film Found (part of the Verses series) in a discussion about life, happenstance and the cathartic process of filmmaking. Tuesday, October 11, 2011 at motion.

view Brian’s reel on motion.tv »

// feed your brain //

Q. Why should I be at motion?

// THE RIGHT BRAIN //
A 3-minute Short…Everyday
Elastic Spaces
Exploring the Intersection of Advertainment and Storyselling
Failure is Not an Option
Fresh Out of the Starting Gate
Change with a Changing Industry
Getting There: Real Life RPG
HAX Double Vision
If These Walls Could Talk
If You’re Good at Something, Stop Doing It
Industry Timeline: Return of the Swiss Army Knife
Kinda Makes You Think…
Look From a New Angle, Change What You See
Mashup: Transforming Movie Scores
Now THAT’s Creative!
Removing My Cat’s Dingleberry: Notable Achievements
Standing Out from the Crowd
Taking Care of Business. And You.
The Lost Art of Original Music in Advertising
Walking Through Walls
When Time is of the Essence
Verses: Found

\\ THE LEFT BRAIN \\
100m2 in the Palm of Your Hand
3D Broadcast Graphics: After Effects + Cinema 4D
3D Broadcast Graphics: From Sketch to Screen with Cinema 4D
Audio Post-Production Basics for Video Professionals
Beyond Keyframes: // LAB
Creating 3D Titles – Yesterday
Creating Custom Looks…in 20 Minutes!
Creating the TRON Legacy Title Animation Effect
Destruction City Trailer: Adding Effects that Sizzle
Forward into the Past: History in Motion
FOX’s Fringe: 3D Text Effect
HDSLR Editing with Adobe CS5.5 Production Premium
Lean, Mean, After Effects Machine
Lean, Mean, Premiere Machine
Learning C4D: Creative Camera Movement // LAB
Open Workflows with Adobe CS5.5 Production Premium
Planar Tracking for Graphics & Effects
Professional Video: The Adobe Roadmap
Putting it all Together: My Strong Suite
Roto Brush and Warp Stabilizer: Shortcuts to Higher Production Values
Stereo Conversion for Film & Broadcast
Sweetening Your Audio with Adobe Audition
The Edge
The Graphics Factory
The RED Workflow Acceleration Secret: Now You Know
The Reel World: Final Cut Pro to Premiere Pro // LAB
Title Design from Concept to Screen: On Little or No Budget!
Track the Impossible: Using mocha and CameraTracker in After Effects
Upending Identity Crisis
Using Effects in Final Cut Pro X
Using Motion to Create Effects for Final Cut Pro X
Who’d a Thunk It!?!
Vector Art is your BFF: Illustrator and After Effects
What’s new in Adobe CS5.5 Production Premium
You’ve got Flash in my After Effects // LAB

A. To feed my brain.

Directed Will Studd and Ed Patterson (aka Sumo Science) - the film explores the life of a little fishing boat when the tide goes out. As the sea ebbs away oilskins and nets come to life manifesting a lone fisherman out to find the catch of the day.
 

When he sets off across the sea he encounters an ocean vista of waves, gulls, clouds and fish all created using giant sand animation, carved in the beach itself. As the fisherman hauls in his sandy catch he is swallowed by a huge sea monster. Trapped inside the beast’s cavernous stomach, he accidentally sets off a chain reaction and is catapulted back to the surface, too late to save his catch from escaping back into the ocean.
 

Water, birds, clouds, and fish were created as animation drawn in the sand in a 140 feet wide by 78 feet high frame. A team of sand artists and 30 art student volunteers created a series of gigantic sand drawings that had to be smoothed over and re-drawn every four minutes to stay on the tight schedule dictated by the spring tide.
 

The huge set was made up of familiar nautical objects, such as seaweed, ropes and nets. Aardman’s expert prop makers built a replica life-sized fishing boat that was light enough to carry around on set. Both a half boat and full boat were constructed for the different perspectives.
 

The film was shot by director of photography Toby Howell entirely on three Nokia N8 cell phones with Zeiss optics and 12-megapixel capabilities, positioned 118 feet overhead. Video signals were sent out from the phones and into a signal booster box, which then routed the signal over a 90-meter video cable for monitoring by the camera assistant, who triggered each camera using Apple wireless keyboards paired with the phones via Bluetooth. High-quality JPEGs were downloaded via a USB cable connected to a USB extender that sent the image out via Ethernet to the truck for review. Confused? Watch Howell’s video here (but beware of the wind noise that obscures his explanation of the camera rig).
 

Watch Gulp on motion.tv

The 2011 Emmy nominations for the category of “Outstanding Main Title Design” have just been announced.

Five fantastic sequences made the cut with amazingly beautiful and wide ranging style, design, and direction.

Imaginary Forces has two sequences in the running…HBO’s Boardwalk Empire and AMC’s Rubicon. motion speaker, Karin Fong was creative director on both.

Shine’s sequence for HBO Film’s Too Big To Fail was directed by Michael Riley.

The talented team from UK based Huge Designs created Any Human Heart.

Elastic’s Angus Wall directed the final nominated sequence for the HBO miniseries Game of Thrones.

Good luck to everyone who worked on creating these stunning sequences!

Credits:

BOARDWALK EMPIRE • HBO

Karin Fong, Designer/Director
Michelle Dougherty, Designer/Director
Lauren Hartstone, Designer/Art Director
Cara McKenney, Producer/Art Director

Length: :90
Description: Main Title Sequence for HBO original series
Live-Action, Main Titles
Designed & Produced by: Imaginary Forces
Director: Karin Fong / Michelle Dougherty
Executive Producer: Anita Olan
Producer: Cara McKenney
Designer: Karin Fong, Lauren Hartstone, Michelle Dougherty
Editor: Caleb Woods
VFX Supervisor: Jeremy Cox
Compositors: Jeremy Cox, John Stanch
3D Animator: Nate Homan
3D Tracker: Joerg Liebold
Additional animation: Matt Lambert
Storyboard Artist: Wayne Coe
Matte Painter: Amy Paskow
Design Assistant: Andy Chung
Design Interns: Alex Huang, Karin Soukup
Coordinator: Kacie Barton
Live Action Line Producer: Jennifer Pearlman
Directors of Photography: Aaron Phillips, Russ Swanson
2nd Unit Director of Photography: Wes Carrier

Studio: HBO
Production Company: Bootleg Productions
Director: Martin Scorsese, Terence Winter
Executive Producers: Terence Winter, Martin Scorsese, Mark Wahlberg, Steve
Levinson, Tim Van Patten
Co-Executive Producer: Gene Kelly
Co-Producer: Steve Turner
Music: Brian Jonestown Massacre
additional info: http://www.imaginaryforces.com/featured-work/broadcast/boardwalk-empire/

RUBICON • AMC

Karin Fong, Creative Director
Jeremy Cox, Designer/Animator
Theodore Daley, Designer
Cara McKenney, Producer/Art Director

Length: :42
Description: Main Titles
Designed & Produced by: Imaginary Forces (IF)
IF Creative Director: Karin Fong
IF Executive Producer: Anita Olan
IF Producer: Cara McKenney
IF Designers: Karin Fong, Theo Daley, Jeremy Cox
IF Animators: Jeremy Cox, JJ Johnstone, Andy Chung
IF Editors: Jordon Podos, Caleb Woods, Adam Spreng
IF Design Assistants: Daniel Farah, Leo Marthaler
IF Coordinator: Emily Nelson

Executive Producers: Henry Bromell, Josh Maurer, Jason Horwitch
Director (Pilot): Allen Coulter
Associate Producer: Leslie Jacobowitz
Network: AMC
Senior VP of Original Programming: Joel Stillerman
VP Original Programming: Jeremy Elice
Manager Scripted Development: Tara Duncan
Music Company: Duotone Audio
Composer: Peter Nashel
Music Editor: Sally Swisher
additional info: http://www.imaginaryforces.com/featured-work/broadcast/rubicon/

TOO BIG TO FAIL • HBO

Michael Riley, Creative Director
Bob Swenson, Creative Lead
Adam Bluming, Editor
Cory Shaw, Designer/Animator

additional info: http://www.shinestudio.com/#/projects/main_titles/7/

ANY HUMAN HEART • PBS

Paul McDonnell, Designer
Hugo Moss, Art Director
Justin Lowings, Animator

additional info: Watch the video on motion.tv

GAME OF THRONES • HBO

Angus Wall, Creative Director
Robert Feng, Art Director
Kirk H. Shintani, Animator
Hameed Shaukat, Designer

Client: HBO
Production Company: Elastic
Director: Angus Wall

Post-Production
Design Studio: Elastic
Art Director: Rob Feng
Lead Designer: Chris Sanchez
Designers: Henry De Leon, Leanne Dare
Concept Artists: George Fuentes, Rustam Hasanov
Storyboard & Concept Artist: Lance Leblanc
Production Artist: Patrick Raines
Producer: Hameed Shaukat
Executive Producer: Jennifer Sofio Hall

VFX Studio: a52
CG Supervisor: Kirk Shintani
Lead Surfacing & Lighting: Ian Ruhfass
CG Artists: Paulo de Almada, John Tumlin, Christian Sanchez, Erin Clark, Tom Nemeth, Joe Paniagua, Dan Gutierrez
2D Animation Artists: Tony Kandalaft, Brock Boyts
Compositers: Sarah Blank, Eric Demeusy
Smoke & Colorist: Paul Yacono

Editorial Company: Rock Paper Scissors
Editor: Angus Wall
Assistant Editor: Anton Capaldo-Smith, Austyn Daines
Executive Producer: Carol Lynn Weaver, Linda Carlson

Composer: Ramin Djawadi
Sound Design: Andy Kennedy

For additional info: http://www.elastic.tv/

Watch the video on motion.tv

Award-winning post production house Company 3 completed work on the Beastie Boys’ latest music video Don’t Play No Game That I Can’t Win (featuring Santigold). Billed as an “action adventure spectacular,” the video, directed by Spike Jonze, features the legendary hip-hop group as action figures in the middle of a performance when a ruthless band of assassins tries to kill them. The trio escapes via a zipline, commandeer a Jeep and lead the assassins on a wild chase where the group encounters everything from a submarine to a shark attack.

The initial concept of the video, which is an 80′s-style action movie, was the brainchild of MCA (Adam Yauch). Company 3 Colorist Tim Masick, who graded the Beasties’ recent short film, “Fight For Your Right (Revisited),” performed dailies and final color on on the video. “Spike definitely took MCA’s concept to the next level,” offered Masick. “He created an epic action movie, but with action figures.”

Masick worked with director of photography, Wyatt Troll to recreate the look and feel of seminal 80′s action films like First Blood. “This is basically the best action movie you ever wanted to make when you were a kid,” said Masick. “The video’s full of action and explosions.”

Not surprisingly, working on the video was a labor of love for Masick. “It was a complete blast working on this video!” he commented. “Working with Wyatt, Spike, Clint Caluory, Neal Usatin, Sam Storr and the Beastie Boys was a true pleasure. I hope everyone enjoys this video as much as we enjoyed making it.”

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 and Stefan Sonnenfeld. Recent commercial projects include campaigns for Apple, Audi, BMW, Heineken, Nike, and others. Recent feature film credits include Pirates of the Caribbean: On Stranger Tides, Bridesmaids, The Lincoln Lawyer, The Tourist, and I Am Number Four. Company 3 is a wholly-owned subsidiary of Deluxe Entertainment Services Group Inc., (www.bydeluxe.com), which is a wholly owned subsidiary of MacAndrews & Forbes Holdings Inc.

CREDITS

Directed By – Spike Jonze
Written By – Adam Yauch
Produced By – Samantha Storr
Director Of Photography – Wyatt Troll
Production Design – Gill Gayle
Editor – Jeff Buchanan
Editor – Neal Usatin
Sound Re-Recording Mixer – Paul Hsu
Musical Score Composed By - Beastie Boys

Roll Credits

2nd Unit Director – Peter Mccoubrey
First Assistant Director – Jason Manz
Production Supervisor – Clint Caluory
Assistant Production Supervisor – Cat Oppenhimer
Art Direction – Andrew Clark
Miniature Art Direction – Jed Hathaway
Prop Master – Adam Lawrence
Custom Miniature Design – Genesis Onasis
Wardrobe Consultant – Jesse Huber

Set Design Fabricators
James Cerasani
Patrick A. Smith
Jediah Smith

Art Assistants
Jeffrey Weatherby
Ismael Awadeh
Madeleiine Mariner
Roman Derkacz
Felix Rodriguez
Brandon Grether
Kevin O’Donnell
Raidy Luna

Camera Operators Scott Sans
1st Asst. Camera (A-Cam) – Travis Daking

1st Asst. Camera (B-Cam)
Kenneth Ekhardt
Matt Klammer

2nd Asst. Camera – Christopher Moeller

Loaders
Pedro Corcega
Edwin Shimko

Gaffer – John Nadeau
Best Boy Electric – Christopher Fisher

Key Grip
Sam Kretchner
Best Boy Grip
Elizabeth Gitto

Pyro Technics - Drew Jiritano Special Fx
Post Production Supervisor – Clint Caluory
Sound Designer – Jeff Buchanan
Assistant Audio Engineer – Andre Kelman
Graphics Titles – Geoff Mcfetridge

Final Color Correction
Company 3
Colorist – Tim Masick
Senior Producer – Tara M. Dowd

Visual Effects Company
Mass Market

Executive Producer – Justine Lane
Producer – Marcus Lansdell

Flame Artists
Julian Ford
Evan Schoonmaker

Film Provided By – Reel Good

Laboratory - Deluxe NY

Camera - Arri CSC

Watch the video on motion.tv