Judges included Chris and Trish Meyer from Crish Design, and Elaine Montoya and Becky Padilla of the motion group; motion.tv founders. There were over 70 entries from around the globe. The caliber of work was outstanding, which made it extremely difficult for the judges to narrow down to 10-top finalists.

The awards show took place live on motion+connect, Tuesday December 20, 2011 at 7:00pm MST.

The winners and finalists are listed below. 

1st place: Carbon Capture Part 1 – Daniel Gies

2nd place: Squanderpus – Lisa Poje

3rd place: An Introduction to Snails – James Clark

4th place: Answear.com – Unlimited Fashion Store – Mateusz Metelski (Media Ambassador)

5th place: Keep Walking – Noelle and Joy Vaccese (Twins Are Weird)

6th place: The Pack A.D.’s Haunt You – Michael Roberts

7th place: Barcelona 2020 – Ernesto Porto (Ernex)

8th place: Wuerschum – The Meaning of Innovation – Marc Böttler (Motion Fruit)

9th place: Selling Detroit – Nicole Novak

10th place: Ellen’s American Eagle Times Square Billboard – Jonathan Winbush

The Operators’ creative team were talking recently about ways to promote and showcase their work in a way that set them apart from the traditional show reel approach. Ben Le Tourneau, Director of Motion, came up with an idea.

Instead of doing what everyone else was doing – compiling a montage of client samples – he wanted to make a short film that captured the essence of their unique creative style while showcasing their client work. The extraordinary result – Grey Days.

Grey Days is a ‘morning in the life’ story about a man just trying to get to work. It chronicles the annoying hassles we’ve all faced – from his car not starting, crashing his bike into a passerby on the sidewalk, discovering he has no cash for a cab ride after he’s already hailed it.

And all along his journey, he’s peppered with advertisements and promos wherever he looks; from his cell phone and iPad, to the billboards, magazines and newspapers that all come to life with moving imagery.

As you watch Grey Days, you realize the creative sophistication required to bring such imagery to life – and the challenges of some very complex VFX.

“What started off as a little idea – which was to create somewhat of a gorilla film around the streets of London – soon evolved into quite an epic project. We brought on board photographer/director Stuart McClymont to help us evolve this idea into a reality. And that’s how it all started!

Because if its increasing complexity, Grey Days ended up having to be very well organized. There were a ton of locations we wanted to film on the main character’s journey, and as this was a strictly self promotion piece, our budget was uber tight. We were adamant that we wanted to shoot this with a documentary feel so there was very little effort in prepping the locations for post production help.

“We tried a few different camera solutions, however we finally decided on the Canon 5D as it could deliver a high quality HD image, while still being lightweight and mobile enough to strap to the actors head.  We used Final Cut Pro 7 for the edit; Color for the grading; mocha Pro for Planar Tracking, roto, inserting, warping and removal and stabilizing; Adobe After Effects for all the VFX compositing; Adobe Photoshop for retouching and prepping the artwork and PFHoe for 3Dtracking.  All up it cost us three staff months to create the piece,” explains Ben Le Tourneau.

There were many different areas in some shots actually tracked. Sometimes some shots had four or five different tracking areas – all-in-all, around 70 areas/shots.

“This project could have never been achievable without mocha pro. Since we could prep each area within a shot, tracking such loose camera work, was an amazing challenge. We encountered everything possible that should have caused the tracker to fail, but it made it through the more challenging shots. Also the latest Shape export and tracking export works beautifully, which made the workflow between mocha pro and After Effects seamless,” explains Le Tourneau.

The Operator crew didn’t just use mocha for the tracker, though there were a ton of shots that needed to be stabilised,  rotoscoped and cleaned up – all of which was tackled a lot quicker in mocha Pro. “Even the ability to render out some of the insertions was a true gem; take for example ‘ether’,” says Ben. “Also, where we found serious lens distortion, the lens collaboration tool really helped bed the artwork in beautifully without having to manually animate/warp the artwork each time.”

Most shots would have failed using conventional tracking techniques, however tracking the newspapers and magazines were very challenging. “But what we found was, as long as you track from the right frame and animate and nurse the spline/tracking areas, a close and create a natural effect is achieved. ‘Adjust track’ was also very helpful,” he explains.

With purse strings pulling ever tighter, and the ever expanding delivery platform opportunities like web, D,O,O,H iPads, The Operator crew wanted to show that high-end VFX work can be done without the hero suite costs. “Our ability to do VFX within a reasonable budget is something I feel really strongly about,” says Ben. “As desktops keep getting stronger, more opportunities are now materialising that used to be totally unobtainable.”

The Operators VFX house is finding that in the commercial field, photography is evolving from a static print-based medium to incorporate motion and become animated stills. It is with the convergence of these disciplines that they are focusing on the ability to facilitate still-to-motion campaigns, or ‘Image Motion.’  “For every still brief we work on, we can employ static and moving components to create a complimentary motion campaign for digital billboards, viral advertising and ISO. This Image Motion product pushes the boundaries of the digital medium and broadens the scope of the photographic/static output.”

Watch Grey Days on motion.tv

Credits:

A Film by:
The Operators

Directed by:
Stuart McClymont

Prosthetics:
Bill Turpin

Sound:
Tom Lowe

Music by:
Madness ‘Grey Days’

Cast:
Adam Morris, Sally Deane, Kai Bastard, Ben Le Tourneau, Scott Freeman, James O’Neill, Joey Grange

Under the direction of Creative Director/VFX Supervisor John Bair and VFX Producer Vivian Connolly, the Phosphene visual-effects team completed more than 80 complex shots for “Young Adult,” a dark new comedy-drama, starring Academy-Award® winning actress Charlize Theron (“Monster,” “The Road”), Golden Globe nominee Patrick Wilson (“Angels in America,”  “Morning Glory”) and Patton Oswalt (“Ratatouille,” “The King of Queens”).

The film reunites the Academy Award® nominated director of “Juno” Jason Reitman (“Up in the Air,” “Thank You for Smoking”) and Academy Award® winning screenwriter Diablo Cody. Distributed worldwide by Paramount Pictures for Mandate Pictures, “Young Adult” began a limited release December 9, 2011 and a wide release December 16.

Independent design and visual-effects company Phosphene is the only VFX vendor on this film.  “The most complex VFX sequence in the film involves Patton Oswalt’s leg. In an intimate scene with Charlize Theron, his severely deformed limb, the result of a brutal high school beating, is exposed. Because of the sensitive nature of the reveal, the leg absolutely had to feel 100% real.” explained Phosphene’s Vivian Connolly.

During production, John Bair and Phosphene’s Lead Digital Artist Aaron Raff were on set to place tracking markers on Patton’s leg.  Raff explained the process: “We began design tests early on to determine the look of the leg. Extensive medical research allowed us to make sure the deformity was as medically accurate as possible. In post, we stabilized and isolated Patton’s leg movement and began applying medically appropriate scarring and texture to the skin. Using warping tools, we redefined the outline of the leg to properly portray the loss of muscle and bone density, maintaining the disfigured shape from every angle as both the actor and the hand held camera moved freely throughout the scene. Because the shot was close-up and intimate, the leg had to move realistically as Patton rolled around on the bed. Since we shrunk the limb quite a bit, we also had to recreate everything that was under his leg as he moved on the bed’s surface including ruffled blankets and other items.”

“Young Adult’s” Post-Production Supervisor Luca Borghese said: “The effect that Phosphene created is a classic example of an unsung hero. The work is so good that the audience immediately accepts Matt’s (Patton Oswalt) injury as real, rather than an exceptional piece of digital artistry.”

One very lengthy sequence shot in a sports bar, a pivotal scene between the Charlize Theron and Patrick Wilson characters, needed to feel absolutely true.  The scene is massive, a technical gorilla, requiring a great deal of green screen replacement. Green screens outside the panoramic windows and a half dozen television monitors needed to be composited and required heavy rotoscoping and tracking.

“We decided the best approach was to use the Flame for this scene because it was over 50 shots that had to be turned around quite quickly and continuity was of the utmost importance.  Under the circumstances, being able to pull quick keys and have quick reviews for continuity checks made the process much easier,” explained Phosphene’s John Bair.

In yet another sequence, Theron drives her car hard into a parking spot and has a comical fender bender which required a lot of cleanup and rig removal to make it feel authentic.

Of their collaboration with the Mercury Productions  team Vivian Connolly stated:  “The film provided us with an amazing opportunity to work directly with Jason Reitman and his editor Dana Glauberman who  had collaborated on  “Thank You For Smoking,” “Juno” and “Up in the Air.”  They both had a remarkably clear vision about what they wanted, which meant we could really jump right into getting the execution of their vision just right. Jason was very involved with the visual effects, and always focused on staying with the realism and truth of the scene, which applied to VFX as much as to any other aspect of the film.”

Glauberman added: “From the very first VFX that Vivian and her crew from Phosphene presented to us on “young Adult,” I was beyond impressed.  Not only is their attention to detail and quick turnaround amazing, but their professionalism and understanding of what the director is looking for makes you feel like you’re in good hands.”

The Phosphene creative team, led by Bair and Connolly, included Lead Digital Artist Aaron Raff; Digital Compositors Scott Winston and Connie Conrad; Flame Artist Peter Amante; and Compositing Intern Andrew Yates.

Representing Mercury Productions LLC were Director Jason Reitman, Writer Diablo Cody, Editor Dana Glauberman and Post- Production Supervisor Luca Borghese.

Phosphene utilized Nuke X, Adobe After Effects CS5, Autodesk® Flame® and PCs running Windows 7 64-bit in the execution of this project.

Deluxe (New York, NY) was responsible for the digital intermediate and lab processing.

ABOUT “YOUNG ADULT”

Academy Award® winner Charlize Theron plays Mavis Gary, a writer of teen literature who returns to her small hometown to reclaim her happily married high school sweetheart (Patrick Wilson). When returning home proves more difficult than she thought, Mavis forms an unusual bond with a former classmate (Patton Oswalt) who hasn’t quite gotten over high school, either.

“Young Adult” reunites Jason Reitman, Academy Award® nominated director of “Juno,” and Academy Award® winning screenwriter, Diablo Cody.    

ABOUT PHOSPHENE

Phosphene is an independent design and visual effects house led by founders/co-owners John Bair and Vivian Connolly who have collaborated on projects since 2005. In 2010, the duo launched Phosphene and immediately hit the ground running with visual effects and title design for Barry Levinson’s “You Don’t Know Jack” (HBO), Phillip Noyce’s  “Salt,” George Nolfi’s “The Adjustment Bureau,” Jodie Foster’s “The Beaver,” Brad Anderson’s “Vanishing on 7th Street”  and, most recently, Brett Ratner’s “Tower Heist.”

Phosphene has just completed work on Stephen Daldry’s “Extremely Loud and Incredibly Close” with Tom Hanks and Sandra Bullock. The company is currently in production on “Europa,” a contemporary space adventure developed by Wayfare Entertainment and Misher Films, with acclaimed Ecuadorian director Sebastian Cordero at the helm, and a cast that includes “District 9′s” Sharlto Copley, Michael Nyquist (“Girl with the Dragon Tattoo”), Anamaria Marinca (“4 Months, 3 Weeks and 2 Days”) and Asian superstar Daniel Wu.

For the company’s television clients, in addition to their Emmy-nominated work for Todd Haynes’ HBO miniseries “Mildred Pierce,” Phosphene is busy on season two of CBS’s “Blue Bloods,” ABC’s “Pan Am,” and are currently at work on  season six of NBC’s “30 Rock.” In addition, Phosphene has teamed with HBO to create all visual effects for seasons one and two, and is about to begin work on season three of “Treme.”

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.

Alexandre Bartholo: We Do Video – Tokyo
Erik van der Wilden: nailgun* – NYC
Jamie Monberg: Hornall Anderson – Seattle
Jessie Nagel: Hype – Los Angeles
Joel Pilger: impossible – Denver
Karin Fong: Imaginary Forces – NYC
Mark Tapio Kines: Cassava Films – Los Angeles
Michael Waldron: nailgun* – NYC
Neville Spiteri: Wemo Media – Los Angeles
Patrick Yonally: Impact Entertainment – Los Angeles
William Lebeda: Picture Mill – Los Angeles
The motion advisory board plays an active role in guiding the content and direction of our annual event – motion.