![]() ![]() It was thrilling to bring everyone together and let them apply their unique visions to these shorts. “We’ve been competing against some of these companies for years and admire them greatly. “When we put out the call to the other studios, people went wild,” said Jerome “Jed” Denjean, Head of CG at Blur and VFX Supervisor for Love, Death & Robots. In this world, viewers go from “sentient dairy products” to “werewolf soldiers” pretty quick, which inspired Miller’s Blur Studio to call on friends and rivals to bring in a little stylistic diversity. The brainchild of Tim Miller and David Fincher, Love, Death & Robots weaves the provocative world of ‘70s comic books into 18 short stories that run the gamut from sci-fi to horror. ![]() Released last weekend, this new anthology kicks open the doors for adult-oriented content in the medium, giving a generation of fans raised on Liquid Television a way to explore the many sides of human nature in the most visceral way possible. For the finale over a paper chessboard, all friends unite for a final toast, leading us to a heartfelt dedication to Absolem's voice actor, Alan Rickman.LOS ANGELES - There have always been blips of mature content on the animation spectrum, but never anything like Love, Death & Robots. These friends engage in various tea parties across Underland, illuminating character quirks to sweet effect. Within this world, we find beloved Underlandian friends illustrated in Sir John Tenniel's unique Victorian style. With Absolem the butterfly as our guide, we fly through whimsical paper architecture created from maps and Alice literature. For James Bobin's “Alice Through the Looking Glass,” Blur created a main on end sequence that drew inspiration from that legacy.Īlice's journey continues after the film, when a nautical map of Underland comes to life. The use of water condensation in the shower (inspired by the crime scene) is used in 3 ways in the trailer: 1) Design motif/ thread throughout 2) A means to “slut shame” Jodi with epithets in the beginning and 3) Jodi’s tears by the conclusion.ĭesigners: Geoffrey Skrajewski, Norn Jordanĭisney's “ Alice in Wonderland” franchise has a rich literary and visual history. We begin with the public’s perception of Jodi, and then sympathize with her by the end. Stop Motion Animators: Jennifer Ruiz, Rui HuangĪnimators: Burke Miles, Jessica Dafcik, Daniel Oberhansley, Tyler Tometich, David Eagle, Vu Trinh, Norn JordanĬollaborated with the folks at Discovery ID for some true crime promo packages.ĭesigner: Geoffrey Skrajewski, Norn JordanĪnimator: Daniel Oberhansley, Jesse Bafiaĭiscovery +’s documentary is the untold story of notorious true crime figure Jodi Arias. ![]() By the end of the piece, Judy’s advocacy causes many others like herself (in the guise of sunflowers) to join her, giving her a welcome respite to the isolation of the disease.Ĭreative Directors/ Designers: Norn Jordan & Burke Miles We used the sunflower as a metaphor for Judy’s (our subject) sunny personality, as well as the sunflower’s distinct look when the sun goes down (as if the flower has fallen asleep.) We also created visual looks to contrast Judy when awake and when asleep, creating a dreamscape of sorts. Narcolepsy becomes humanized and sympathetic in this piece sponsored by WebMD. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |