R27.CREATIVELAB / Blogspot

An animated feast from Passion Pictures' Pete Candeland and Ogilvy Buenos Aires.

I saw the movie "Stranger than Fiction" a while ago, found the end credits very entertaining, but then again I would...

The first scene sets the mood.




Motion Graphics by MK12 a US Motion Graphics company

Happy viewing

The Nerd

Once in a while it is nice to not work on a commercial project and have the freedom of doing whatever you want. Fortunately the people at Büro Hirzberger hirzbergerevents.com were totally open to whatever we presented them to decorate parts of their office space in Vienna.

My fellow co-workers at Strukt Design Studio came up with this digital wallpaper, using 2 projectors to map an entire wall and using VVVV to do the deskewing and to generate the content.

Many thanks go to the great guys at Concept Solutions derigel.at to provide us the equipment for the test set-up.

Credits:
VVVV-Programming: Julian Köhn, Thomas Hitthaler, Robi Hammerle
Project Management: Gregor Hofbauer
Equipment Support: Klaus Spitzbart / Concept Solutions
Music:  PNAU - Baby (Breakbot Remix)

Creative collective Legs created a 12-foot tall carousel structure that combined film loops and modern proejction technology to showcase Temperley's circus-inspired Spring 2010 line at both London and New York's Fashion Week.

More info on its creation is here glossyinc.com/legszoetrope.html

A behind the scenes look into Paul Smith's approach to design and the inspirations behind his latest collaborative venture with Evian.

You may also be interested in: MUTO a wall-painted animation by BLU

www.blublu.org
www.davidellis.org
Produced by studio cromie: www.studiocromie.org
Music by Roberto Lange: www.robertolange.com
Made at Fame festival 2009: www.famefestival.it

Died Young Stayed Pretty - a documentary about indie rock posters.

Died Young, Stayed Pretty is a candid look at the underground poster culture in North America. This unique documentary examines the creative spirit that drives these indie graphic artists. They pick through the dregs of America’s schizophrenic culture and piece them back together.... get the full lowdown at the DYSP Site.




posters above by Keith Herzik | TANXXX | Guy Burwell


poster above by Ron Liberti

Here it goes one of the most expected articles from de design history series: The Bauhaus. Let's see how everything begun, its artists, its influences and many things about the first big school of design, that means so much for us.

Bauhaus
The Staatliches-Bauhaus (Building House) was one of the first design schools. The interesting is that it was an attempt to integrate art and industry. Different than the ideas of the Arts and Crafts movement, the idea of Bauhaus was to embrace the technology and mass production with art.

Read More: The Bauhaus

You can find some great Indian book cover designs on A Journey Round My Skull, very illustrative... I'm still trying to work out how I found this site but its going to be bookmarked for future reference. It features works from various countries and worth a browse through. The simplicity in the shapes and colour is fascinating.

I know they say don't judge a book by its cover but at least you'd be interested to see whats on the back....

SOURCE: A Journey Round My Skull

SOURCE: A Journey Round My Skull

For inspiration only. Great distressed type treatments and balance of forms.

Name: Andrés Cambiasso

Website: www.flickr.com/photos/andycambiasso

Email: andres.cambiasso@gmail.com

Just like modular synthesizers, people connect with each other in order to achieve diverse objectives. In Voltage, robots, half-human and half-synthesizer, powered by a huge amount of energy, connect to each other in an electric and chaotic trance.

Great illustrative style and textures, the retro sound design is spot on and worth more than a single viewing. Fantastic and inspiring!

Directed by: Filippe Lyra / William Paiva
Produced by: Barros Melo Animation Studio
Director of photography: Filippe Lyra / William Paiva
Animation: Filippe Lyra / William Paiva / Marcio Vieira / Felipe Soares / Leo D. / Tony Farias
Design: Filippe Lyra / Marcio Vieira / Felipe Soares / William Paiva / Natalia Franca
Illustration: Filippe Lyra / Marcio Vieira / Felipe Soares / William Paiva / Natalia Franca
Editor(s): William Paiva / Leo D. / Filippe Lyra
Sound: William Paiva / Leo D
Music: William Paiva / Leo D
Executive Producer: Izabella Barros Melo

Great timing/pace in this sequence with thousands of key frames made in after effects... very fluid, love it...



Music by The Books thebooksmusic.com

Handcrafted with love by BYU design students and faculty, for the 5th Typophile Film Festival. A visual typographic feast about the five senses, and how they contribute to and enhance our creativity. Everything in the film is real—no CG effects!

Shot with a RED One, a Canon EOS 5D Mark II, a Canon EOS 40D, and a Nikon D80. Stop motion created with Dragon Stop Motion.

Creative Director & Faculty Mentor:
Brent Barson

Writing & Storyboarding:
Brent Barson, Jessica Blackham, Analisa Estrada, Meg Gallagher, John Jensen, Regan Fred Johnson, Colin “The Pin” Pinegar

Construction, Paint & Glue:
Brent Barson, Wynn Burton, Analisa Estrada, Meg Gallagher, Olivia Juarez Knudsen, Casey Lewis, Reeding Roberts, Deven Stephens, Brian Christensen (Brain Sculpture)

Animators:
Brent Barson, Wynn Burton, Analisa Estrada, Meg Gallagher, Olivia Juarez Knudsen, Reeding Roberts, Deven Stephens

Cinematographer:
Wynn Burton

Editing:
Brent Barson, Wynn Burton, Analisa Estrada, Meg Gallagher, Reeding Roberts

Hand Models:
Analisa Estrada, Meg Gallagher, Olivia Juarez Knudsen, Deven Stephens, Michelle Stephens

Original Music:
micah dahl anderson - micahdahl.com

Can't find the right font to use, struggling with typefaces... Theres a war going on!

HD Recording of the outro movie played before going onto the final encore song in The Beatles Rock band game.

Captures the feeling of the band pretty well and I'm not especially a big follower at that.... Nice colouring and visual mood. I particularly love the mixture of techniques that actually makes up the final piece. Never seen London look so good.....

Audi have done it again with another visually fascinating spot.

Did I forget to say "I want one"



Agency: Kempertrautmann gmbh
Client: Audi AG
Brand: Audi A4 2.0 TDI
Production: Markenfilm
Director: Carl Erik Rinsch
Copywriter: Willy Kaussen
Art Director: Frank Bannöhr
Creative Director: Tobias Ahrens
Creative Director: Willy Kaussen
Creative Director: Frank Bannöhr

Organic, strange, alien are just a few of the words that went through my mind when I was first introduced to this video (see below). I almost expected a "Facehugger" to jump out at one point. This low-budget video was done within just 2½ weeks for the planned DVD of Zero 7's "The Garden." The video visualizes crushed objects representing a diffuse future of wishes and desires which shape over time. Visible artefacts and the rough synchronisation add subtle emotions to the uncertain process.

Beautiful colours...

A short film by Blu, an ambiguous animation painted on public walls. Made in Buenos Aires and in Baden (fantoche) and still loving it..... : )



blublu.org/
blublu.org/sito/video/muto.htm

Music by Andrea Martignoni
Produced by Mercurio Film
Assistant: Sibe

Gattaca title opening sequence - still love the attention to detail and the sensitivity used for the opening sequence...


Main titles designed by Imaginary Forces.

A quick note before we begin - you can hear samples of Elli's music at the end of the article and download desktop images.

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Who today in the music scene do you see yourself in ... or who makes you smile with the sound they're creating?
Odd questions for me since, when I read them I was barely listening to nor going to hear live music. Several times I'd overdone it so much, especially in the '90s listening 24/7 when possible to the NYC jazz station, sitting in at jams and going to hear others so often that, after taking a break, I never returned. Until now.

Curtis Davenport, @CurtJazz on Twitter, in Charlotte, NC, has gotten me hooked on his eclectic jazz programming at www.curtscafejazz.com, which I'm now logged onto all the time. It started when he liked my new CD and promised to include it in heavy rotation on Curt's Café Noir. Since then, he's continuously delighted me with his choices of new and older jazz and sent me on several journeys to look up the artists.

Last week, I went into the city with my 5-lb. Yorkie to catch Roberta Gambarini live. I've known about Roberta since we both launched radio-play for new CDs in 2008, having the same rep; I'd receive reports from jazz DJs and programmers for both of us, but I didn't tap, being in my listening-burnout. @RGambarini and I began an exchange on Twitter and wound up supporting and enjoying each other's work. Curt's show included her and another current jazz vocalist I know in his rotation of Living Jazz artists. It was fun to hear all three of us on Curt's show and great to meet and watch Roberta in action and hear some of her fans speak about her. I hope we enjoy some hanging out time soon and lots more mutual support and music sharing.

What had replaced that enormous amount of listening and hearing live music (in addition to watching tons of dramatic TV and DVDs, having begun acting in 2000 and using it as training) had been catching musical acts like those on David Foster's special on PBS or those Oprah featured, plus checking out YouTubes, music clips and sites recommended on Twitter. Overall I've found I needed to create, not study others' renditions and for now most of my listening is much more in quick-scan mode.

But let me mention things that have REALLY made me smile in musical past.

I remember being on the verge of quitting singing in the '70s, seeing a jazz singer (can't recall his name), and being so inspired! His phrasing, emotion and sound (always the things that grab me) were completely elevating.

A show I've had the privilege of being in in its jazz choir many times is called "Bending Towards the Light, A Jazz Nativity." The purpose of it initially was to introduce inner-city kids to jazz through familiar Christmas songs but the show has been performed many times in NY and elsewhere for nearly 25 years, although recently it's been presented in a smaller format at a jazz club with no room on-stage for a choir and using a minimum number of cast and musicians. Whenever I've heard the Nativity on CD (www.jazznativity.com), in-person, been on-stage or in rehearsals, or talked about it, it's brought me to profound gripping tears. The musical director, Bob Kindred, jokes with m, calling me the slush bucket (always crying, even after so many experiences, but it has great impact on so many levels).

Some of the times I've seen Michael Buble perform on TV, he's really lit me up -- I definitely want to perform with him -- and the new Diana Krall videos (her Brazillian album) get me at my musical core.

Bobby Darin (with whom I was very close friends way before he began singing: www.darinland.com) was my biggest inspiration, although I never thought I would try to go for it for years, especially after he had his big break. I was privileged to spend a few days with him in Las Vegas in 1971 where I went to every brilliant show he did and have DVDs capturing that era.

During a strong hurricaine in Miami in 1965, I discovered Sammy Davis! We were inside staying away from windows, awaiting the eye's arrival, when I found an album called Live at the Coconut Grove recorded a couple of years earlier. Until then I hadn't paid much attention to him; yeah, yeah, a kid dancer, multiple skills, lost an eye, yeah, yeah; but lying on the living room floor alone listening to that show, I was transported. His singing, impressions, taste in music and jazz feel were total lift-off. And I was lucky enough to briefly meet him in '71 (in a social context, not a performing one). Mentioning a mutual friend, he was very sweet.

In Puerto Rico during the year I lived there in 1969, I was lucky enough to see Tony Bennett from the wings of the stage where he was performing; another case of yeah, yeah, for me. I'd heard all his hits in the '50s ad infinitum and if I never had to sing "I Left My Heart In San Francisco" again, it would be too soon. I was pretty turned off to him by the time jazz took hold of my heart around 1951. To my surprise he's only a jazz singer but the sweetest man alive and one the audience couldn't get enough of, then or now. He stood next to me before going on, not knowing why I was there or who I was, smiled cordially and went out and completely knocked 'em dead. I've been a fan ever since.. I particularly remember for the first time hearing him on a car radio singing "Waltz for Debby" with it's composer Bill Evans playing piano so brilliantly. I'd been singing the tune in jazz choir and already adored it (it's the title tune of my newest CD, "Songs Spun of Gold," which came from that lyric?), but when I heard Tony sing the ending I totally got it! Again, a transformational experience.

Another musical lift-off happened standing in an empty motel ball room in NJ, listening to the musak from a ceiling speeker, in 1973, when Neal Sadaka came on doing with the ballad version of "Breaking Up is Hard to Do." I was transfixed. Another similar experience was hearing Quincy Jones' cover of "What's Going On?" -- especially the flute solo on the bridge. WOW! This was also in the '70s. In the '70s I covered Roberta Flack's hits often, usually playing in Top-40 cover bands, and those being hits I could relate to. I adored "First Time Ever I Saw Your Face" and "Killing Me Softly" and really felt those lyrics. Another tune from that era was "Superstar," though I liked my rendition more than the Carpenters'. There were many great lift-off experiences during my own performances, but that's not what you're asking about here. I guess I've got so many of these incredible-feeling memories stored up that the urge to pile on more is slight. But even thinking of any of these definitely makes me smile with the sound and more importantly, the feeling it left in my heart and mind.

Again, Rajesh, thanks for the opportunity to think about your questions.

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You may also want to read the following articles covering Elli's life:

Elli Fordyce – Still very cool
Elli Fordyce – In the light she dances...
Elli Fordyce – What's your type?
Elli Fordyce – No More Blues
Elli Fordyce – Inspiration
Elli Fordyce – Change
Elli Fordyce – Set in Stone
Elli Fordyce – The Writing's on the Wall

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Free Wallpaper Images

On behalf of Elli - download your desktop wallpaper images by [clicking here]



















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Useful Links

Elli Fordyce's Website: www.ellifordyce.com
You can follow Elli on twitter @ElliFordyce
Management: Redwood Entertainment [see artists page]

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CD and samples available from | iTunes | CD Baby | Amazon | Napster | AmieST |


Certain images are provided and owned by © 2009 Elli Fordyce |
Desktop images and text created by R27 | © 2009 R27 Creativelab

After constant stalking and relentless emails Justin gave me the okay to take part in an interview. Maybe it was the "I know where you live" comment that persuaded him. Hey, sometimes you just got to make an offer they can't refuse.... Actually Justin jumped at the chance to share his thoughts and story from his early days to his present role as film director without the need for arm twisting because, unless there's any skeletons in the closet, he is as an all round "Goodfella".

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How long have been doing this?
I've been doing this since I was 15yrs old. I graduated a year earlier than my friends in my GCE 'O' levels because I got bumped up when in form 4 to form 5. I'm 37 now, so I would say that's about 22 years in total.

What got you involved?

Proton Gen 2 "Breaking Away TV Commercial

In the late 60's - 70's, mainstream TV advertising started to become quite a huge thing in both Singapore and Malaysia.  Peter Robinson, who was quite old at this point, decided to pack his bags and head on back to London, leaving my father fully at the helm of the studio. My father was a superstitious man and believed that he should retain the original name, Peter Robinson Studios. My father then ventured into mainstream TV commercial production as a producer. Through Peter, he was introduced to many English film directors and cameramen and brought them in on a project by project basis to shoot TV commercials. Peter Robinson Studios or PRS for short, grew from strength to strength. In the early 70's, the advertising herd was growing bigger in Malaysia and so my dad decided to open up an office here in Kuala Lumpur, Malaysia. He used the same name; Peter Robinson Studios and was one of the pioneers of the film industry here. The studio officially opened in 1972, the year I was born.  My dad successfully ran the company all the way to the early 90's where he passed on.  PRS was famous for bringing to life campaigns for Anchor Beer, Coca-Cola, Levis, Pantene and many countless other brands.

Peter Robinson Studios still exists today but has changed the name to PRS Productions, after the death of my father, and is solely runned by two half- brothers of mine; Tommy Woon (A Retired Film Director) and Derrick Woon (A retired Film Editor). I now work independently from PRS via my own production company.

Your Background?
After graduation from my 'O' levels, I was just doing the normal teenager thing; bumming around and checking out various universities, at the time I was very interested in Aeronautical Engineering, something that was going be beneficial in my intended career as a airforce pilot! I did my SAT's and applied to a few universities and basically just waited after that. My dad, basically told me that, instead of wasting my time waiting everyday for the postman, that I should help him out in his film production company. He just wanted me to help out where I could; basically being a runner and helping the boys carry stuff. My dad said he would pay me 50 bucks for every shoot day I was involved in and at that time, there were a lot of shoot days up on the internal schedule. Doing the math, I figured that this would be very financially beneficial to me, so I took him up on his offer.

I obviously was not going to be a film director straight away and nor was it my intention to be one... I still had dreams and aspirations to be a pilot in the airforce. But you know what? Halfway through my first month of 'helping' out, I was hooked; I saw more money than I ever did in my young life and rubbing shoulders with gorgeous models did the trick! I was 15-16 and I was enjoying the life! The money earned led to countless nights out with the rest of the studio guys, drinking in pubs etc... I finally received an initial acceptance letter to The California Institute of Technology but I was so hooked by then on film-making, I just threw it in the bin with a laugh!

I started just being a grip; a guy who just carries everything on set. Anybody who needed boxes, lights, stands etc...to be carried, they would call on me for assistance. I also mopped floors and got coffee! Basically everything that anybody asked me to do! From then on, I moved up into the lighting department; helping the Gaffer (Chief electrician/lighting person) set up lights, lay cables, flag lights etc... After a year or two of doing this, I got very interested in the camera department. I managed to get in because one of the existing camera boys decided to join another company. I became what they called a clapper loader; the guy who was responsible for ensuring we always had magazines of film, making sure the slate or clapper/id board got shot prior to each take and basically assisting the the 1st Camera Assistant or Focus Puller as they call it. I eventually got bumped up and took over the Focus Puller role. This entailed me pulling the focus when a talent/actor moved from point A to point B. It's quite an art form :) Once shooting for the Singapore Air Force out in Arizona, I had to pull the focus on a really long telephoto lens (1600mm) WITHOUT any focus marks as we didn't have time, on a F-16 taking off into the sunset. The aperture was fully open meaning I had very little depth of field or room for errors on my pulling. We only had 1 shot at it, no rehearsals obviously. I got it sharp all the way and the Australian director who was also the (DOP) Director of Photography/Cameraman, patted me on the back and said "Really well done" It made my day!

Soon after, this same director, who owned his own production company in Singapore, handed me my 1st opportunity to DOP for him on a few jobs he had lined up in Singapore. I jumped at the opportunity, and in turn, became the youngest DOP in Asia, at the age of 21.

Being ambitious, I soon came out on my own and formed an affiliate production company down here in Malaysia with him. One day we secured a job for Max Factor, which belonged to Procter & Gamble at the time, through Leo Burnetts Kuala Lumpur. He was the director and I was the DOP/Cameraman. After the final pre-production meeting and just a couple of days before the shoot, he had to pull out of the job as his wife, who had cancer at the time had to be admitted to hospital in Singapore. We had 2 other directors on our company roster; an American and a British chap. I tried to get them both to take over but both the Clients and the Agency, weren't very comfortable with their personalities or their showreels at the time. The job was already signed off to us and I was really in a spot. I finally had a heart to heart with the agency producer, who was a good friend of mine at the time, and threw my name into the hat. She thought it was an excellent idea but still had to run it through her creatives as well as the accounts servicing people and of course, Procter & Gamble. Everyone thought it to be a good idea but P&G being P&G, didn't quite have the same enthusiasm understandably. We were back to square one.

Anti Smoking Campaign TV Commercial

With my back against the wall, I counter-offered one last time; We were assigned to shoot three 30sec spots, each one highlighting a different product. I offered to shoot one, on my own cost initially. Clients needn't put out a single dime. I would shoot it, and take it up to the initial edit or offline as we call it. Upon agency approval, we would then present it to P&G and if they liked it, they would reimburse me and give me the go ahead for the other two. THEY LOVED IT! They found it fresh and unique and totally fell in love with me LOL! Â This was the start of my film directing career.

Inspiration?
From everywhere really; films, music promo's, art, real life, design work etc....anything I can feed off really.

Recent achievements?
I've stopped entering stuff for awards, as in the past decade Agencies have been submitting mostly scam stuff which to me, does not reflect real life at all. They of course have the respective Client's approval but they 'air' it just once, at some unknown channel at an obscure hour where nobody would see it anyways. So I've stopped believing in the awards quite a while ago but the last one I won was for an IKEA ad which I took home a MOBIUS from L.A. My best achievements of late has basically been the smiles I get when I show clients the finished product or to know that sales have gone up because of my ad. At the end of the day, I'm an old fashioned ad man and believe that I should use my creativity to help clients do what they pay me to do; to create a piece of advertising that will drive their sales... not to win awards. If it does win an award in the process, then its really icing on the cake. But I never go out there and use clients money frivolously just to have a supercreative wank! Sorry about the language...

Hopes?
My hopes and aspirations is for Advertising in its totality, to be better than it is now. It has become, in recent years, a very money and client driven environment which really is not healthy, creatively speaking. I WANT to help clients do a better job, but sometimes we just need more money than they're willing to give at the moment. It's not getting any easier I tell you. Everyday, there'll be this new film production company or post production company or design house that springs up, offering their services at much cheaper rates than everyone else and Clients use this as a benchmark against you. Its now all bottom line driven, but they still DEMAND good work. The only places where this doesn't happen is in countries where all of us are protected by unions and strong labour laws. Unfortunately here in Asia, it doesn't exist. And what really peeves me off is when clients have no money, they look for you and squeeze every drop they can out of ya but, when they have a special project with tonnes of money, they will immediately look for the top director from the UK, US, France or wherever, paying out of their noses. Its like, hey wait a minute... I bend over backwards trying to help you out all this time and when there is some opportunity for a little payback, you all go overseas? Terrible isn't it?

Sony Vaio TV Commercial


Future works?
There are some interesting things in the pipeline. Really solid creative ideas that unfortunately will not really materialize because of the constraints of their budgets. I have a couple of things lined up for some car brands like Proton (Malaysia) and Suzuki (Indonesia) The Suzuki one will be good cause its essentially a 3 day shoot in Bali, Indonesia :) Which is always nice. Other things include finally coming to some sort of writing conclusion on my film project. I've been writing it for a few years now. Its really a on-off-on-off sort of exercise because shooting TV ads has been keeping really busy. But it has to be finished some time I guess.

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Justin thanks for taking the time out and sharing a little of your background.

Justin Woon
Site: 3riple8ight designs
Site: 2isted Media
Twitter: @Jwoon888

A chalk animated music video directed by Lucinda Schreiber and Yanni Kronenberg.



Music available from Spunk Records
spunk.com.au/