Posted In:Behind The Scenes | Page 2 of 4 | Greyscalegorilla
Take a look at how these beer cans were designed for production, and later ended up featured in TIME Magazine for their eye-catching design.
We talk to designer Eileen Tjan of OTHER studio and Chad Ashley about the creation of the Peekskill Brewery beer cans recently featured in a special edition of TIME Magazine.
Learn about the process in designing product labels and imagery, then take a glimpse into the making of 3D product renders.
How can you make a commercial celebrating Mickey Mouse’s 90th birthday, without being able to feature the legendary character himself? You get clever.
We talk to Already Been Chewed‘s Barton Damer about their newest Nixon watch commercial featuring Disney’s Mickey Mouse.
Now you may remember Nixon’s 3D watch commercials from our previous interview and tour of the Already Been Chewed (ABC) studio in Texas. If not, check out or interview with founder Barton Damer here.
ABC had just launched the latest in their series of spots for Nixon watches, this one celebrating the 90th anniversary of Mickey Mouse. It proved to be no easy task, as the team did not have the rights to use the character himself. Read More
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.
The Corridor Crew walks you through their latest Corridor Digital short Foam Fortnite. Go behind the scenes of the shoot, edit, VFX, and more.
As entertaining as the short films on the Corridor Digital channel are, you can find equally entertaining and educational videos on the Corridor Crew channel (formerly the Sam and Niko channel). Its a series of videos that take you behind the scenes of the office life, as well as tutorials on their biggest sequences, shoots, and general post-production madness.
We had a chance to hang out with the crew at the Maxon + Greyscalegorilla pinball party at NAB this year. It was there that a giant group on Cinema 4D enthusiasts likely finally convinced Wren Weichman to make the jump to C4D, which he talks about in this video.
We are a few months into the teams transition, and the Corridor Crew channel has been a blast to watch as Wren and Clint Jones learn Cinema 4D.
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.
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.
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
Transitioning into a freelance or remote work-from-home position? This is a guide to surviving and thriving in a home office.
Multiple times in my career, I’ve worked from home. After many mistakes over the years, I finally figured out how to get work done and still live a normal life. I put together this list of to-do’s and not to-do’s based on my experience, while debunking many of the other work from home articles I’ve read.
As someone having worked in the creative industry for over a decade, I’ve worked in every type of environment. I have worked on set, lived the cubicle life (driving a beige sedan, ugh), worked in an open-plan office, inside a theater tech booth, and now I am in my element, working remotely from home.
If you have the fortune to transfer into a full-time freelance career or remote position, there are upsides and downsides. I’m going to offer some advice and tips I’ve learned on working from home. Read More
See how this surprising piece for VELCRO® Brand had the entire design community enthralled with its beauty and technical wizardry.
Designers Lukas Vojir and Alexa Sirbu recently released their latest collaboration, a stunning piece created on hook and loop technology.
The video was quickly shared among design circles, not only for the video’s beautiful renders, but also its technical achievements. How did they get that shot? It was a question I kept asking myself, so I reached out to Lukas and Alexa to learn more.
Here’s what I learned in our conversation. Read More
Discover the creative process behind Mike Judge’s Tales from the Tour Bus title sequence from storyboard to completion.
Penelope Nederlander is a two-time Emmy-nominated art director and digital artist. She’s been using Cinema 4D for 16 years, and has worked freelance, as a creative director, and now works at Austin-based Rooster Teeth.
In addition to her animation and motion design work, Nederlander has worked in VFX departments for films like Iron Man, The Aviator, and Superman Returns, as well as music videos for Dolly Parton and The Killers. She also worked on the stereoscopic version of the MGM lion logo.
She has frequently collaborated with L.A. studio Shine on several main title sequences for films and shows like Kung Fu Panda, Pitch Perfect, and more. In this presentation, she will go behind her work on the main titles for Mike Judge’s Cinemax show, Tales from the Tour Bus.
Revisit the world of Akira in this must-see short. Plus breakdown the entire process with hours of behind-the-scenes videos.
The tribute was a collaborative project that took over a year to create. For those wanting more, there is so much more content.
The Akira Awaken website not only includes the jaw-dropping renders and comparisons to original stills, but also hours of behind-the-scenes breakdowns.
Watch as the team shows you what went into creating each shot from the short. They’ll show you their sketches, as well as Cinema 4D and After Effects project files.
The guys tell you all about their challenges creating certain scenes, and having to turn to online tutorials and Wikipedia articles to help them learn.
Here’s a look at the first breakdown. There are a total of 26! Watch all of the videos on the Process section of the Akira Awaken site.
There are also some on set photos and a breakdown of the team shooting organic fluids for the project.
(If you are interested in playing with and compositing these type of fluid elements, I had the pleasure of making some free fluid elements with the team over at RocketStock. You can go download 19 free 4K fluids in their Nebula pack.)
- Tribute by – Ash Thorp & Zaoeyo
- Score by – Pilot Priest
- Character Modeler – Raf Grassetti
- Photography – The Joelsons
- Website by – Oblio
- Special Thanks –
Be sure to head over to the Akira Awaken website for all the in-depth videos.
If you are interested in more like this, check out our interview with Ash Thorp, in which he showed us how he created a cyberpunk western for Nike.
SHARING YOUR PROCESS
I believe sharing your process is one of the most important things you can do as an artist. Giving away your secrets and techniques will propel your own work forward at a rapid pace. Doing this will make you want to push yourself to come up with new techniques and not become repetitive or do what everyone else is able to do. Sharing your process for how you create your work will help our industry grow. In addition to this other artists will look to you for your expertise and you will stand out in the industry. What more could you ask for!
I am very proud to post Motionographers Step by Step: Locked And Loading article. Motionographers new “Step by Step” series take us through the artist’s process in real time while they create their work. It is a fantastic educational tool that really shows us inside the mind and process of the artist while they are creating.
I was extremely excited when they approached me to be this month’s artist on Motionographer and leaped at the opportunity. The most recent series I have been creating has easily been the most tutorial requested series of mine and I thought this would be a great way of sharing with everyone my entire process. I show you step by step how I created “The Buoy” animation.
Want to check out the tools I used? Take a look at the links below!
Maxon Cinema 4D
GSG HDRI Studio
GSG HDRI Link (Coming Soon)
Adobe After Effects
During my process I also show how I use Greyscalegorilla tools including HDRI Studio, Signal as well as the upcoming HDRI Link in creating my animation. These 3 tools have become must have tools for me as I have used them in almost every project over the past year. I hope you all enjoy and learn from my process!
We want to make a special thanks to Motionographer for creating another tool for artists to learn from and reaching out to Greyscalegorilla!
Half Rez 5 was a blast and we couldn’t do it without the help of lots of talented people. This year LooseKeys created a new set of animations for us and knocked it out of the park!
We at Greyscalegorilla know the people over at LooseKeys well since we shared an office space with them for years. Now’s your chance to get to know them as well! We sent them some questions so you can get a taste for who they are and the work they do!
What is Loosekeys and how long have you been around?
Brad Chmielewski – LooseKeys is a design and animation studio in Chicago. We’ve been around for about 5 years now. A lot of the work we do involves character animation and storytelling.
What did you learn while making these animations?
Jake Williams – What was great about making the Half Rez animations was feeling like a newbie again with a new creative tool. While Cinema 4D was daunting at first, the amount of community resources available was integral and helping us learn on the fly. As we got more comfortable with the software, we were able to apply our style and animation principles with a totally new tool.
Ethan Barnowsky – This would be an appropriate place to thank Nick, Chris, and EJ because I spent a LOT of time in their tutorials learning techniques and tips for this project. It’s easy to take that resource for granted, but I would be miserable without their help! So, thanks!
How did you guys decide the content of each video?
BC – With most projects, we sit down and brainstorm concepts as a team. From there we’ll typically go and explore some concepts or at least pull some references for what the videos could be.
JW – We knew that we wanted to have a flow to the spots; that together they would tell a sort of story with the characters. We brainstormed a good number of ideas to get us started and then boiled it down to the 3-4 that we realistically thought we could accomplish before the show. The dance party, cheers, and drunky spots were the original 3 spots and the drone guy was added when we realized we could squeeze in one more.
Normally Loosekeys has a 2D workflow. What made you guys decide to try some 3D for these?
BC – Since HalfRez is an event centered around 3D animation we felt that we needed to make something that all the 3D animators in the room would enjoy while still staying true to our style. We could have easily done something in 2D but then we really wouldn’t have pushed ourselves to do something that challenged us.
JW – Echoing what Brad already mentioned, we wanted to push ourselves with this project. Really there was no better time to finally try to get our bearings in a 3D software package than this very project.
EB – I asked myself that question a lot while I banged my head against the keyboard trying to learn more 3D but in the end I’m super happy I had this as an opportunity to learn and create something new in C4D. I’m really thankful. Turns out it’s super fun.
Any inspirations feed into the animations?
BC – I know one thing that came up early on was the “Dumb Ways To Die” video.
JW – We looked at a ton of reference centered around TV idents and bumpers. There’s such a great timing and pacing in the stories that are told in quick 10-15 second spots that we wanted to capture. One of my favorite early references were these Adult Swim Idents from Art&Graft.
EB – We also looked at the Half Rez logo and branding and previous years bumpers and wanted to play off of those elements a bit. Love cubes and bubbles.
How was the crowd reactions to the animations both online and at Half Rez?
BC – From what I could tell it seemed that most people really enjoyed them. It’s sometimes hard to tell since I personally know so many people in the community, you never know if they are just being nice. What I think worked for us was that we took our character animation skills and storytelling ability and applied them to 3D. The 3D was very simple and I’m sure many people out there would have no trouble recreating these spots. What’s sometimes troublesome about 3D animation is that the possibilities are endless. What we do well at LooseKeys is to take something that’s complicated and make it simple. I felt like the reaction was great, we did something a bit different for us at LooseKeys and although they were cubes, it was a bit outside the box.
JW – The live crowd seemed to enjoy the spots although I wish I had made the “dance party” spot a bit longer to see if people would have jumped out of their seats! From friends and acquaintances alike I’ve heard nothing but positive feedback and it’s incredibly humbling to get this sort of response from guys and gals whose opinion and work I respect so much.
Loosekeys and Greyscalegorilla used to share office space. How’s your new place and what has changed?
BC – We do miss the Greyscalegorilla guys. Having more energy in the office is always nice to keep your creative juices flowing. For us it was time to make a move in order to feel more like the studio we wanted to be. You don’t need your own space in order to be a studio. Still there is something about having your own space that feels comfortable and helps set the tone for your workday. Having your own studio makes you want to invite clients over and show off with parties. We have now been in the space for a year and there is plenty of room for us to grow and try new things.
EB – It’s quieter without the ping pong, pinball and excited chatter which is occasionally good but mainly I miss those aspects! It took a long time to adjust to the lack of lunchtime ping pong noises coming from the other room. Like Brad said, it’s nice to have a space to call our own where we can have parties and create without getting in anybody else’s way.
Best way to follow your work as a fan? Best way to contact you as a client?
BC – I try to keep all of our social media channels updated with what we are working on. Twitter is a great place to start if you want a catch all for everything we are doing.
And for any clients who are looking to get in touch, I would be the best person to talk to about new business firstname.lastname@example.org
You guys are the most prolific podcasters I know. How many podcasts are the members of Loosekeys involved in these days?
BC – Thanks! I love the medium. At the moment I have 4 podcasts that I release new episodes for pretty regularly. There are a few that come on and off and some others that have ended but there are 4 that I focus my time and energy on. Shatter The Vain, a podcast with over 120 episodes about the mobile game Vainglory. This podcast is released every Monday. Released every Tuesday is Toon Talk Weekly, a podcast where Jake Williams and I talk about a new cartoon each and every week. Then there is Chicago Beer Pass with 160 episodes. Chicago Beer Pass is a weekly podcast about beer events in the Chicagoland area and Illinois. And then my video podcast is Hop Cast. This podcast isn’t recorded as often and doesn’t have a real schedule anymore but it is the longest running podcast. Ken Hunnemeder and I have been talking about beer for eight years and recorded over 285 episodes of this show.
I love the idea of podcasting, you’re able to take something you’re passionate about and share that love with the world. Each show I do has a different fan base but it doesn’t matter if one person is listening or thousands. Just the idea that someone cares about something as much as you do is enough. Podcasting is a form of storytelling and using the medium to help perfect that skill set is very important for me and the business.
JW – Special shoutout to Chris for being on Toon Talk Weekly Episode 86 to talk about his love for ReBoot!
Who are some artists / websites you admire?
JW – I’d be lying if I didn’t say I check Dribbble and Vimeo daily to see what talented folks are working on. I love simple, clean, and clever character design and animation and there is a ton of great work out there. A few favorites:
Ice Cream Hater
EB – All of those artists Jake mentioned are amazing. I also tend to lean towards bold, simple, sometimes crude illustration styles and love artists like:
Everyone in the Late Night Work Club
Follow the LooseKeys guys on twitter