Posted By:Meleah Maynard, Author at Greyscalegorilla

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Beeple’s Short Film is a Wake-up Call for Everybody, Including Himself

December 2, 2019 - By 

Four years in the making, Beeple never thought he’d finally release ‘Manifest Destiny.’ Now you can watch it and download all the scene files he made for free.

Mike Winkelmann, a.k.a. Beeple, wrote the treatment for his latest film, Manifest Destiny, a little over four years ago, never dreaming that it would actually take so long to get the film finished.

Derailed by procrastination, he finally got back on track after making a deal with an artist he met at SIGGRAPH, him agreeing that he would finish his film in 100 days, and she would create an Everyday for 100 days. “I don’t know why I agreed to that, but it forced me to f—ing do it,” he says, admitting that “I still didn’t do anything until the last two weeks, and I seriously finished it on the 100th day.”

Reached in Denver last week where he was one of the featured speakers on Maxon’s 26-city 3D Design + Motion Tour, Winkelmann talked with me about the making of Manifest Destiny, using Cinema 4D, Octane and Houdini; losing interest in making longer films; and how his Everydays have turned darker and more political in the last year, but he remains optimistic about the future.

Meleah Maynard: Your other films, Transparent Machines and Zero Day, were social commentaries too, but Manifest Destiny feels stronger and more pointed. Would you agree?

Mike Winkelmann: Yeah, this one is not vague at all. The things I’m pointing out are literally happening now. But there is a bit of sensationalizing, like I did with the other films. There is so much inequality in the world, and it is improving in some areas, like statistics show that the number of people living in extreme poverty is slowly declining.

But things are getting worse in a lot of ways too. I tried to choose statistics that people may not have been aware of, like how Jeff Bezos made over $100 million dollars every single day in 2018, and the average Chinese worker assembling iPhones makes $1.85 per hour. I wanted to hit on a lot of different points about money.

MM: You’ve been saying this film would be done for a long time. What happened?

MW: I don’t know. I think, to be honest, I’m not actually that interested in making things that are this long anymore. I’m more interested in doing short 10- to 30-second videos. I think that you can be more experimental when you have less time, like, ‘I’ve got two days invested in this, who cares? I can do whatever.’ But when you spend four years, you’re like, ‘OMG, should I do this, or that, or this?’ It becomes paralyzing. I don’t even watch short films much anymore. If I do another video, I’m giving myself a deadline, like a month or something.

MM: Were you redoing it over and over? What was left to finish?

MW: No, the only thing left to do was edit it to the Run the Jewels track. I had everything done and rendered. But then I just didn’t touch it for a year and, honestly, it wasn’t even bugging me that I wasn’t getting it done. I was always planning on using that Run the Jewels song, “Legend Has It.” I liked the overall vibe of the song, but I hadn’t talked to them about it yet. And then one of the guys got in touch with me to say they’d seen some of my Everydays and wanted to talk about making a video. So it all worked out.

MM: Talk a little bit about your process for making this.

MW: The workflow was pretty simple, really. I mainly used Cinema 4D and Octane. Octane gave it a great look that really felt super realistic. I could just set up a couple of lights and throw some volumetrics on it to get a lot of depth and atmosphere.

The buildings were modeled in C4D, and all of the fire and destructions was simulated in Turbulence FD and rendered in Octane. There was no compositing: I just went straight out of C4D and Octane and did one color correction and that was it.

MM: What about the fat gold characters, and how they sort of melted together?

MW: Oh, yeah, I used Houdini for the melting gold people. I have no idea how I did that. When I started this four years ago, it was the first time I’d ever done characters. I used Mixamo for the big gold character, and Houdini for the melting effect. It’s a good thing I saved that as an Alembic file, or I would have had to start over since I don’t remember how I did that.

All of the fighting was done with Mixamo models that we already in poses, like they were hitting, ducking or punching. I just had to choreograph the characters, so it looked like they were fighting. I’m happy with how it turned out. The melting thing was kind of symbolism for this weird orgy of people at the top, like our politicians and upper-class elite, all bumping heads and wrestling around in a big pile. They’re not really doing anything meaningful, just shifting their weight around while very little changes for the rest of us.

MM: Why did you go with text and music rather than narration this time?

MW: I was going to do a voiceover with music, like I usually do, and I had like 140 people submit auditions, but none of them were right. So I decided, pretty much at the last second, to put use text, even though it would be covering up all that sh-t I worked on for so long. That was probably a better choice anyway because a lot of people watch videos on mute, so they wouldn’t have heard the narration. I wanted to get a lot of stuff across, like how much debt we’re in, how rich Americans are, and how so many people are insanely poor and a few are insanely rich.

MM: Do you worry, or think about, the state of the world a lot these days?

MW: No, I wouldn’t say that. But I do work a lot more with two TVs on, one turned to FOX News and the other to CNN. I mute the sound, but it’s very interesting to see how differently they cover things. FOX is just all of this propaganda and, pretty much the opposite of what CNN says. You can see why the country is so divided.

I’m definitely interested in politics, and I do think we are headed for a time when we’re all going to have to make some changes and adjust to a new reality, including changing our levels of spending. But there are things we can do, like give money. Most of us can afford to give money, but we don’t. Or we don’t give enough. Honestly, as I’ve made more money, I’ve given less money. This film is kind of a wake-up call, for everybody, me included.

MM: It seems like you’re trying to say more with your Everydays now, too.

MW: I’d say it was about July when I started doing things that are overtly political. I like taking a political- or commerce-related scenario and abstracting it out to a ridiculous degree, like the pro-choice one where robot Trump is being forced to have a baby in the future, or where Mark Zuckerberg has no nipples because women can’t show nipples on Facebook.

The response has been super, much bigger than anything else I’ve done. It really just felt like a natural progression from the storytelling I’ve been doing.

MM: What else are you doing these days?

MW: I’m working on a couple of things I can’t talk about yet. I just did some concert visuals for Zedd, and I’m doing a video sculpture for a festival that Amazon’s doing in December. I’m traveling a lot more. A month ago, I was in Brazil with my wife and the kids. And my wife and I are going to Russia soon for a conference I’m doing with Maxon. There’s a lot going on.


Credits and Free Downloads:

Directed by: BEEPLE
Music: RUN THE JEWELS

Donate:
Donations to Direct Relief.

Make a Donation

DOWNLOAD ALL CLIPS:

Does not require Cinema 4D.

Download Now

DOWNLOAD CINEMA 4D PROJECT FILES:

Beeple’s resources

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Meleah Maynard is a writer and editor in Minneapolis, Minnesota.


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A Must Watch: Promoting Wolkov’s New Watches with a Colorful Spot

November 11, 2019 - By 

Paul Clements on how he used Cinema 4D, After Effects and Arnold to create a style-conscious watch promo.

Like many directors, Paul Clements runs his own business, London-based RocknRoller Studios. While he often handles projects on his own, he frequently builds teams of freelance artists and designers from all over the world, allowing him to keep work moving forward nearly 24 hours a day.

Known for his motion design and directorial work for Adidas, Cadillac, Sky and other brands, Clements was recently asked to design and animate a promo piece for Wolkov, a new watch company looking for a distinctive way to showcase their product’s fresh, youthful features.

Because they had already seen and liked some of his previous work, Wolkov trusted Clements with a very open brief. And he spent two intense weeks using Cinema 4D, After Effects, and Arnold to create a launch promo that dynamically highlights the watch’s versatility.

Here Clements explains his process explains his process, including why he chooses to work in an iterative way that can sometimes means redoing shots 20 or 30 times. Read More


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How MPC Combined C4D, Maya, Houdini and Unreal for this Music Video

October 28, 2019 - By 

The making of Ed Sheeran’s magical music video “Cross Me,” featuring Chance the Rapper and PnB Rock.

Ed Sheeran and Chance the Rapper weren’t able to actually be in the music video for their new single “Cross Me,” which also features PnB Rock. But Riff Raff Films director, Ryan Staake, and the Moving Picture Company came up with a mind-blowing way to combine motion capture, photogrammetry, 3D animation, and visual effects to allow all three of them to appear anyway.

The result is a video that offers a behind-the-scenes look at what it takes to create a fully CG story. Read More


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Making The Lonely Island’s Unauthorized Bash Brothers Experience

October 1, 2019 - By 

How production studio Lord Danger helped The Lonely Island realize their crazy Netflix visual poem tribute to ‘80s baseball.

Comedy Trio, The Lonely Island—Akiva Schaffer, Andy Samberg and Jorma Taccone—met in junior high and have been collaborating on creative projects for years. After a longtime stint with Saturday Night Live, the troupe has lately become known for producing their own viral videos and studio albums.

Among their recent releases is a Netflix comedy special called The Unauthorized Bash Brothers Experience. Billed as a “visual poem,” the half-hour mockumentary features Samberg and Schaffer as 1980’s baseball legends Jose Canseco and Mark McGwire (a.k.a. the Bash Brothers). The storyline imagines what their rap album and accompanying videos might have been like if they had really captured their experiences chasing the ladies, taking steroids, working out, being rich, and occasionally pondering questions of love and the meaning of life and fame.

For “IHOP Parking Lot” freelance artist Josh Johnson used a modified TurboSquid model, the Everyday Material Collection, C4D and Octane to create a Back to the Future-like car scene.

Mike Diva (Dahlquist), of the LA-based production company, Lord Danger, teamed up with Lonely Island’s Akiva Schaffer to co-direct the special. Diva also assembled and led Lord Danger’s team of global freelancers who worked on the show from concepting to completion over four months using a combination of Cinema 4D, After Effects, Blender, and Nuke. Read More


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Interview: Ash Thorp on Designing a Pro Driver’s Ford Rally Car in C4D

June 19, 2019 - By 

Go under the hood in this breakdown on using Cinema 4D to design a Cossie V2 rally car for driver Ken Block.

Designer/Director Ash Thorp is well known for the visual effects and prop designs he creates for feature films, like Ghost in the Shell and Assassin’s Creed. But he’s also really into designing CGI cars, like the ’64 Ford Fairlane Z and the Hellion, which are artfully featured along with several others in the Auto section of his website.

Thorp considers car design a hobby, but he admits that he was hoping that professional rally driver Ken Block might one day see his cars and want to work with him. He didn’t. But as luck would have it, a friend introduced the two of them and Block did ask Thorp to collaborate on the design of his newest rally car, a ‘90s Ford Escort Cosworth known as Cossie V2.

Using Cinema 4D, Octane and Redshift, Thorp spent nearly four months working on and off with Block and others from Block’s racing company, Hoonigan. Read More


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Assembling Avengers: Endgame User Interfaces and Holograms with C4D

May 16, 2019 - By 
Assembling Avengers: Endgame User Interfaces and Holograms with C4D - Featured

Territory Studio Creative Director Marti Romances on working with Marvel Studios on Avengers: Endgame graphics and futuristic UI.

Territory Studio has worked with Marvel production designer Charles Wood’s team to realize aspects of many Marvel blockbusters, including Guardians of the Galaxy, Captain America: Winter Soldier, Avengers: Age of Ultron and Infinity War. Now with Avengers: Endgame Territory’s San Francisco team once again helped bring directors Anthony and Joe Russo’s vision to life.

Here Territory Creative Director Marti Romances describes the studio’s latest foray into the Marvel Universe, explaining the team’s use of Cinema 4D and other software, as well as what it was like to be embedded with the Marvel team in Atlanta, Georgia. Read More


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Painting Over Cinema 4D Renders to Animate a Spotify Music Video

April 16, 2019 - By 
Painting Over Cinema 4D Renders to Animate a Spotify Music Video - Featured

A behind-the-scenes look at the surreal and powerful Spotify music video for Mitski’s “A Pearl.”

In the new music video for Mitski’s, “A Pearl,” from Be the Cowboy, a barefoot woman walks determinedly for a while before breaking into a run that turns into a freefall as the lyrics lay bare her soul. Eventually, the Mitski-like woman lands on her feet and begins walking again and it’s hard to know whether to breathe a sigh of relief, or cry.

Artful and heart-wrenching, the Spotify-commissioned video is a collaborative creation by Brooklyn-based studio Art Camp and New York City-based designers/animators Saad Moosajee and Danaé Gosset. Read More


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Creating FUI for the Marvel Cinematic Universe, DC Shows, and More

January 31, 2019 - By 

Fantasy User Interface (FUI) artist Robyn Haddow talks about her experience building functional interfaces for films, television, video games, and more.

Guardians of the Galaxy Vol. 2 Credit: Marvel Studios

Motion graphics artist Robyn Haddow is a dreamer, and as a successful freelancer specializing in creating fantasy user interfaces (FUI), she gets to dream plenty. Ant-Man and the Wasp, Guardians of the Galaxy Vol. 2, Spider-Man: Homecoming, Thor, Transformers, Mile 22, and Bumblebee—those are just a handful of the feature films for which Haddow has designed screen graphics and holograms.

She’s also worked on games, including Batman: Arkham Origins and several TV series in the DC Universe as well as televisions shows on networks such as Netflix, FOX, CW, NBC, TNT and CBS. Read More


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Designing a 3D Neon Spot for Xbox Game Pass

October 31, 2018 - By 
Designing a 3D Neon Adventure for Xbox Game Pass - Featured

See how Blind used Cinema 4D, After Effects, Octane, and Redshift to create several 3D scenes of popular games to announce Xbox Game Pass at E3 2018.

All images courtesy of Microsoft / Blind.

In 2018, for the fourth year in a row, Microsoft and the Ayzenberg Group tapped Los Angeles-based design and brand strategy studio Blind to create content for their high-profile E3 (Electronic Entertainment Expo) show. While last year’s project was devoted to the launch of the Xbox One X, this year’s goal was to highlight Microsoft’s monthly subscription service, Xbox Game Pass.

Read More


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Interview: Creating the Memorable ‘Humankind’ Titles for TEDxSydney

September 20, 2018 - By 
Interview: Creating the Memorable 'Humankind' Titles for TEDxSydney - Featured

A behind-the-scenes look at Substance’s making of the TEDxSydney 2018 titles, and how everything was realized using Cinema 4D, Redshift, Houdini, and ZBrush.

All images via Substance.

The brief for TEDxSydney’s 2018 titles was just one word — Humankind, and Scott Geersen, creative director of the Sydney Australia-based studio, Substance, ran with it.

The result is a moving journey through imagined museum galleries that, in less than two minutes, manages to make uncomfortably clear the deeply complex nature of humankind.

Read More


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A New Look for NBC’s Longtime Hit Show ‘The Voice’

July 24, 2018 - By 
A New Look for NBC's Longtime Hit Show 'The Voice' - Featured

Family-owned studio, The Other House, explains their work on the brand refresh for the fourteenth season of The Voice.

Working with loved ones is often ill-advised, but that’s not the case with The Other House. Founded in 2011 by brothers Chris and Steve Roth and their wives, Amber and Lara, the Portland, Oregon-based boutique motion/production studio embraces its identity as a family-owned business that also includes a tight-knit group of talented friends.

The Voice’s brand refresh included a vibrant new color scheme and an auditorium-inspired center piece and bleachers. Image via Live Animals / NBC / The Other House.

Among the award-winning studio’s latest projects was a complete brand refresh for season 14 of NBC’s The Voice. Here Chris Roth, The Other House’s Executive Director and Principal Animator, explains the origin of his small yet well-connected studio and talks about how they used Cinema 4D, After Effects and Octane to infuse The Voice’s iconic look with a whole lot of orange-hued energy. Read More