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The Beauty Myth for Boys (Published 2019)

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A short animation that travels through a whirlwind of questions surrounding the science and religion debate. The film invites the viewer into the details of the conversations, where there is less conflict than it seems from far off.

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Personal project of drawing unreal people.

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This illustration was made in a collaboration with BetterCo puzzle company.

BetterCO. invites you to unwind with one of our beautiful, modern puzzles and experience a new way to find your chill.

You can purchase a puzzle with this illustration on

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This illustration was made in a collaboration with BetterCo puzzle company. BetterCO. invites you to unwind with one of our beautiful, modern puzzles and experience a new way to find your chill. You can purchase a puzzle with this illustration on

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I was invited to participate in a contest run by the Museum Art of Medellín MAMM to create a illustration about "Colombia" for a new products collection of their gift store.I decided to create a piece that explored visually Colombia´s popular culture.

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https://polyesterstudio.com/look-good-feel-better/

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We collaborated with mineral water brand Volvic to create these illustrated animations for their social media channels, showcasing four chapters in a hiker's diary. All chapters are based on different locations in Parc Naturel des Volcans d'Auvergne where the water source is . The Trails of Water animations take audience on the journey of every drop of Volvic water - starting from the sky, filtering through the volcanic rocks, being in our hands.

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We collaborated with mineral water brand Volvic to create these illustrated animations for their social media channels, showcasing four chapters in a hiker's diary. All chapters are based on different locations in Parc Naturel des Volcans d'Auvergne where the water source is .

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Moth

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The visual essay has become an increasingly popular format within the world of animation and motion design. Instead of focusing on spectacle, products, and end tags, the visual essay is the perfect vessel to dive further into storytelling and convey dense information.

All that being said, this format is typically plagued with lower budgets, shorter timelines, and increased duration. Often times the end result is multiple minutes long, not a mere 30 seconds.

Depending on the circumstances it can be hard to break out of your mold in this medium. That definitely isn't the case for Moth. While they have seemingly mastered the visual essay, they continue to pave new ground and are definitely pioneers in this format of animation. Case in point, their latest work, Better Humans.

The following is a Q&A with Moth about the making of Better Humans.

First, how did this project come about?

We were approached by Nadja Oertelt from Massive to create a short film on the possibilities of gene editing technology and body augmentation. The film was to be episode five of a seven-part animated series that asked some of today's scientists to re-examine the ideas in Mary Shelley's Frankenstein.

Massive gave us the recorded interviews with the scientists and a heaped spoonful of creative freedom to take the VO in whatever visual direction we wanted, the only caveat being that they did not want the visuals to feel diagrammatic. So, we went crazy and went for the loosest and most fun look we could think of!

The amazing Skillbard were already attached to compose the music and an ensemble of animation superstars made the other 6 episodes which you can check out here. (https://massivesci.com/articles/reanimated-collection-frankenstein-science-videos/)

The look of this film is really unique! What was your process like making this film?

Jen Zheng, who led this project, was fresh from a trip to Japan so she had 80's vinyl monster toys, Akira and bright neon colours filling her brain and desk.

We knew from the beginning that we wanted to create something loose, fun and wobbly, and we started experimenting by using Posca Pens on plastic cels. The materials are super satisfying to work with, and layering those cells gave the designs a beautiful sense of depth.

Sticking to the colours that the pens came in gave us our neon colour palette and the physical limitations that these pens gave meant that you can't be super precious and precise with your lines. Out of this soup of ideas and limitations came the look for Better Humans!

Ideally, of course, the whole film would have been drawn on those plastic cels. But due to time and project constraints, we limited ourselves to using the real cel drawings for the backgrounds only and created Photoshop brushes to recreate the Posca Pen effect for the hand-drawn animation. Adding a drop shadow to the animation layers, overlaying a boil of scanned dusty cells and injecting some 3D magic in a couple of scenes, allowed us to pull off a pretty convincing cel look! It was great to find a compromise between using our real drawings and some digital cheating, as we did not want to discard the cel drawings completely. They are intrinsic to the look of the film and the creative process, and no digital tool can quite replace them...

Story-wise, the VO split up pretty neatly into three different mini-arcs: gene editing possibilities, body modding and the future of mankind.

We focused on using fun and engaging imagery to contrast and explain the factual scientific voice over and used two main characters which we could keep referencing throughout the film, even though there was not a very linear narrative. Naturally, we managed to create some romance between them and bring them together in the end, as in every great story...

After we finished the animation we worked with the wonderful Skillbard to bring music to our neon world. They totally brought it to life with their cool wood percussion, romantic harps, and sick theremin sounds. We also had a brilliant crew of animators and compositors working on the film, making the whole experience even more fun for all of us.

How did this project differ from your past works and what is something you've taken away from the experience?

We always find that the most interesting things come out of weird constraints, so it was really fun to switch up our normal tools for something unfamiliar to us. When you start working commercially and under time limits, you can easily get sucked into the digital abyss and forget to use what is inside your pencil case. So, projects like this one are a brilliant reminder of how important it is to get yourself out of the Photoshop comfort zone sometimes and try something new (or old, ironically...!)

It also highlights how much external inspiration is important to our job. People sometimes feel guilty taking time off and going travelling, but some things will not quite enter your mind unless you are lost in a mental, super crowded neon-sign street on the other side of the globe.

Finally, what's next for Moth?

We are currently working on a few 3D projects, one of which is a really cute ident for a British TV channel.

Also, another interesting science-based project that we can hopefully share soon!

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The visual essay has become an increasingly popular format within the world of animation and motion design. Instead of focusing on spectacle, products, and end tags, the visual essay is the perfect vessel to dive further into storytelling and convey dense information.

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The animation explores the topic of screen addiction, the new norm of our life today with digital technology, and the feeling of isolation and distraction a lot of us share but often neglect.

Direction / Design / Animation: Hannah Sun
Music / Sound: Joe Basile

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100 Motion Designers in Japan 2021 / 映像作家100人 2021

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A yearbook of Japan's most famous video directors.

映像作家100人 2021
https://eizo100.jp/

Movie: Hiromu Oka (OTP)
Music: wai wai music resort
Risograph Print: Hand Saw Press

Presented by BNN & 映像作家100人

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Rafa Cezar is a motion and graphic designer :)

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Invited by , I started the first animation number '0' in this series. After '0', I decided to learn better and get more familiar with Cinema 4D. So I moved on to other numbers and animated '1', '2', '3'... and I finished all the numbers. Here are the full collection of all my animated numbers. ​​​​​​​

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Invited by , I started the first animation number '0' in this series. After '0', I decided to learn better and get more familiar with Cinema 4D. So I moved on to other numbers and animated '1', '2', '3'... and I finished all the numbers. Here are the full collection of all my animated numbers.

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Studio Aka, multi-BAFTA winning & Oscar-nominated independent animation studio based in London, presents a new funny video, Feeling Nuts

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The story is set in a graphic design world where fonts are the main characters. They have unique properties: Bold makes everything thicker, Italic tilts things, Monospace equalizes objects by width, etc. Fonts team up to build a garden, and the five boxing wizards jump in quickly to inspect their work. A negative space storm flushes everything away, but Regular comes and fixes the garden.

Logline: The five boxing wizards jump quickly.

Making-of: https://www.notofagus.com/films/regular

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As a part of Lush Cosmetics's Christmas campaign this year, the animation is featuring their package-free Naked products.

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Jáchym Bouzek - Portfolio - FILM / DESIGN / ART

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I am a multidisciplinary visual artist whose practice spans moving image, design, illustration, animation & beyond. I like to explore and experiment with several media and the obscuring and conflicting boundaries between them, often overlapping traditional and digital forms. I focus on combining animation techniques to create images with a strong narrative.

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AKA

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Sky - Penny Dreadful Portraits — Gergely Wootsch

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Sky - Penny Dreadful Portraits - 3 short animations explaining the literary inspiration behind Penny Dreadful produced for Sky Atlantic.

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Animade has created a TV advert for online will-writing service Farewill, adding warmth to a subject that can often inspire worry and stress. The spot's minimal colour palette and hand-drawn style was inspired by Farewill's new visual identity, which was created by art director and illustrator Anna Charity and launched earlier this year.

The 30-second advert features Farewill's mascot Blob, snuggled up to his child and cat on the sofa. As a baritone voiceover comments on how deaths can sometimes happen suddenly, Blob's pet fish keels over and floats to the top of its tank and a houseplant immediately sheds all its leaves.

The intention of the new branding and the TV advert was to show a less intimidating side to planning a funeral and to let people know wills are now something that can be created online. 30 million adults in the UK don't have a will and only 5 per cent of wills, probate and funeral services are online. The average cost of a funeral in the UK is £4,400 and one in eight families go into debt to pay for a funeral. "We needed to build a brand that completely changes people's perceptions of death," says Farewell founder Dan Garrett.

Anna Charity, who was previously the creative director of meditation app Headspace, created a "friendly and approachable" visual language and a relatable mascot called Blob - a "soft, protective, big friendly giant" - and a supporting cast of a cat and tortoise. "In terms of style, I wanted the illustrations to be versatile enough to convey complex stories, but I also wanted them to demonstrate the simplicity of the service Farewill offers," says Charity. "Death is such a difficult subject for a lot of people to think about, but broaching the subject through animals somehow makes it feel softer and more friendly."

Animade then set about creating a narrative from Charity's animations. "The key was to get that magic balance of comedic timing with more heartfelt, relatable family moments," Animade creative director Ed Barrett tells It's Nice That. "Anna's wonderful designs had already done a lot of the heavy lifting. The brand guide was bursting with charm, character and humour, and we knew straight away it was a project we wanted to work on."

The advert is the first time that Farewill has delved into animation, meaning Animade could set the precedent for the brand in motion. "Farewill's style is very friendly, with its loosely drawn characters and backgrounds making the brand feel approachable," Animade senior creative Stewart Harvey tells us. Animade chose to complement this with a hand-drawn animation style. "Having that human touch adds even more charm to the illustration," Harvey adds. "Even with a subject as delicate as this one, we were able to inject bits of humour and warmth with moments like the little fish's upside-down flip and the lovely family hug at the end."

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Animade brings Anna Charity's rebrand of online will-writing service Farewill to life for TV ad

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Animade has created a TV advert for online will-writing service Farewill, adding warmth to a subject that can often inspire worry and stress. The spot's minimal colour palette and hand-drawn style was inspired by Farewill's new visual identity, which was created by art director and illustrator Anna Charity and launched earlier this year.

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Ottawa International Animation Festival Signal Film 2017 - Peter Millards Work

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Ottawa International Animation Festival Signal Film 2017 from peter millard on Vimeo. The ottawa international animation festival 2017 signal film

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VOW "To End Child Marriage" - Kijek / Adamski

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VOW "To End Child Marriage" We collaborated with Strange Beast and talented directors to launch a campaign to end child marriage. 12 million girls under the age of 18 are married every single year. That's one girl every 3 seconds who is r...

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Felix Massie

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Headspace wanted to help Americans get back on their feet by offering free subscriptions to anyone who has lost their job as a consequence of Covid-19. Continuing our close relationship with Headspace we helped create a series of uplifting animated films to announce this act of kindness. The spots f…

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Shane Beam - The Imbeciles video

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In a new and moving film by Extinction Rebellion and Passion Pictures, the one and only Whoopi Goldberg lends her voice to narrate a plot around how now is the time to plan how we might "rebuild our world post-Covid". Ultimately showcasing how a brighter future is certainly possible, the animated short weaves this narrative through the plot of a bed time story. Overall it showcases how "Climate change is an existential threat to people of all ages and backgrounds," says Extinction Rebellion. "The need for collective action has never been greater."

Joint directed by George Lewin - a London-based designer, visual artist and environmental activist - and Nicola Jane Francis - an animation director who also co-wrote the short - the initial idea stemmed from the possibility that "a beautiful, sustainable future is in fact possible, where we live in harmony with nature rather than trying to be its master," says George. "But this won't happen if we continue as we are - quite the opposite."

Depicting this reality through the relationship of a grandmother and granddaughter, the short is set in 2050 - specially chosen as "the date many countries have committed to reach net zero carbon," points out the co-director. "A year when we'll know if the action we took was enough." It's a concept George had in mind for a while too, but only became a reality once he found the right animator, spotting Nicola's work at the Central Saint Martins MA Show. Proposing the possibility of the film to her, the pair then approached Serena Schellenberg, an original member of Extinction Rebellion and a TV producer. "She was instantly hooked, and determined to make it happen," says George, "and went on to secure amazing talent for the film such as Whoopi Goldberg [to voice the grandmother], Simon Chamberlain [music composer] and Livia Nelson [to voice the granddaughter]."

Initially funded through a crowd funding campaign, followed by the support of Passion Pictures, the finished short is a brilliant example of how hand illustrated animation can convey a meaningful message. Purposefully using 2D frame-by-frame animation made in Photoshop, to evoke a style "that is made by human hands" for a project "about humanity", each aesthetic decision was made with thoughtfulness. Within this illustrative style a specific colour palette was also necessary to represent either a darker, negative future, in comparison to a brighter alternative enhanced by nature. As George explains: "The interior scene with our grandmother and granddaughter characters are neutral. However, the story world evolves and blooms with blues and corals as the granddaughter breathes life into it through her imagination. We wanted the contrast to really hit home to the audience what could be our future, if we do or do not act as the film encourages us to."

Now released, the team's simple goal is for the film to reach as many audiences as possible. At its heart it's a "clear universal message to inspire people of all ages backgrounds: Take action today to help build a better future. As the public wakes up to the realties of the climate emergency, the film illustrates the tough journey we have ahead of us. But crucially, that the world we dream of is possible if we all work together."

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Extinction Rebellion's latest animation calls for The Gigantic Change

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In a new and moving film by Extinction Rebellion and Passion Pictures, the one and only Whoopi Goldberg lends her voice to narrate a plot around how now is the time to plan how we might "rebuild our world post-Covid".

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"Safe spaces have become very controversial, but Trevor Noah can't see what all the fuss is about. At The New York Times' Get With The Times event at Northwestern University, the comedian and host of The Daily Show explained why he's fascinated by the whole discussion."

This was a little film commissioned by the fine folks at WeTransfer as part of their WePresent initiative. It was a real delight make a film to accompany some of Trevor Noah's thoughts, particularly about words and language being weaponized.

I did an interview about the process which you can see in full here- - https://wepresent.wetransfer.c...

Directed by Alex Grigg
Performed by Trevor Noah live at Northwestern University New York Times' "Get with the Times" event.
Sound by Skillbard
Animated by: Alex Grigg, Michael Chen, Ben Ommundson, Richard Chhoa
Commissioned for WeTransfer by Rob Alderson

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Safe Spaces. WeTransfer presents Trevor Noah

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This was a little film commissioned by the fine folks at WeTransfer as part of their WePresent initiative. It was a real delight make a film to accompany some of Trevor Noah's thoughts, particularly about words and language being weaponized. I did an interview about the process which you can see in full here- - https://wepresent.wetransfer.c...

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Is The Man Who Is Tall Happy? Michel Gondry

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Directed by Dalena Tran
https://dalena.me/ 
Character 3D Modeling and Animation by Kat Sung
https://k4tsung.com/
Produced by Beacon
https://www.beaconband.com/

From the album "Along the Lethe," w/ Apparent Movement
https://beacon.lnk.to/alongthelethe

Read more about the work:
https://www.girlsinfilm.net/videos/beacon-harm

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More Than Words - Ep 1 - Innerer Schweinehund

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Language has the power to bring people and nations together by facilitating dialogue and strengthening human connection.

Each language has its own way of describing the world, and in turn, affects how the world is seen through it.

‘More Than Words’ is an animated video series which celebrates words and phrases that don’t exist in the English language.

Episode 1 describes the wonderful German phrase ‘Innerer Schweinehund’, which literally translates to ‘inner pig-dog’ - the inner voice that encourages you to be lazy.

CREDITS:

Concept, design, animation and sound design - Serafima Serafimova
VO - Georg Csarmann
Music - ' The Model' by Kraftwerk

Special thanks to Patrick Mallett and Sara Abou Dan, for being my guinea pigs and allowing me to film them with a pile of duvets and backpacks which later transformed into a pig-dog. Also to Giulia Bavagnoli without whom the pig-dog would've looked VERY odd and creepy.

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Le clitoris - Animated Documentary (2016)

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ENG : The clitoris is the only organ in the human body dedicated exclusively for pleasure! In this humorous and instructive animated documentary, find out its unrecognized anatomy and its unknown herstory.
FR : Le clitoris est le seul organe du corps humain qui sert uniquement au plaisir! Dans ce documentaire animé drôle et instructif, découvrez son anatomie ignorée et son histoire méconnue.

22 Subtitles : Albanian, Bulgarian, Chinese (Taiwan), Croatian, Czech, Dutch, English, Estonian, French, German, Haitian Creole, Italian, Japanese, Korean, Macedonian, Polish, Portuguese, Russian, Sinhala, Slovenian, Spanish, Ukrainian
**If you are willing to send me a translation in your language, write me at : lorimalepart@gmail.com**

Technique : gouache on paper / 2D digital
Graduation film, Mel Hoppenheim School of Cinema, Concordia University (Montreal, Canada)
© Lori Malépart-Traversy 2016
Original music by Eliazer Kramer https://soundcloud.com/eliazerkramer

15 awards :
-Winner Best Animation (MôTif Film Festival 2018)
-Winner Best Student International Short Film (Animasivo 2016)
-Winner Best Animated Film (Festival du Film Étudiant de Québec 2017)
-Winner Audience Award - Best Documentary (Chicago Feminist Film Festival 2017)
-Winner Audience Award - Best Short Film (Festival Vues d'en face 2017)
-Winner Audience Award (Womanimation 2016)
-Best Film - 2nd place (The Riverside Short Film Festival 2018)
-Best Film for Adult - 3rd place (Anim!Arte 2017)
-Special Jury Mention (La Boca Erotica 2018)
-Honourable Mention for Best Canadian Student Animation (Ottawa Animation Festival 2016)
-Honourable Mention for Audience Award (Nachtschatten BDSM/Fetish Film Festival 2018)
-Honourable Mention for Audience Award (TAIS 2016)
-Honourable Mention (Cabbagetown Short Film Festival 2016)
-Honourable Mention for Best Sound (Concordia Film Festival 2016)
-Prix de la Cinémathèque Québécoise pour l'Excellence en cinéma d'animation (Concordia Awards 2016)

+ Vimeo Staff Pick : 
One of 100 most iconic Staff Picks of the last 10 years https://vimeo.com/channels/thedecade
https://vimeo.com/channels/bestofjune2017
https://vimeo.com/channels/bestanimationsof2017

Selected in 150+ international film festivals, among them :
-Annecy International Animated Film Festival 2017 (Annecy, France)
-Animafest Zagreb 2017 (Zabreb, Croatia)
-Ottawa International Animation Festival 2016 (Ottawa, Canada)
-Fantoche International Film Festival 2018 (Baden, Switzerland)
-Anima Mundi 2016 (Rio de Janeiro & São Paulo, Brazil)
-Anifilm 2017 (Třeboň, Czech Republic)
-Animac 2017 (Catalunya, Spain)
-Animateka 2016 (Ljubljana, Slovenia)
-KROK International Animated Films Festival 2016 (Russia)
-Encounters Short Film Festival 2017 (Bristol, UK)
-DOK Leipzig 2016 (Leipzig, Germany)
-Monstra Animation Festival 2017 (Lisbon, Portugal)
-Guanajuato International Film Festival 2017 (Guanajuato, Mexico)
-KLIK! Animation Festival 2016 (Amsterdam, Netherlands)
-Cinanima International Animated Film Festival 2017 (Espinho, Portugal)
-Anim'est 2016 (Bucharest, Romania)
-CutOut Fest 2016 (Querétaro, Mexico)
-Les Sommets du cinéma d'animation 2016 (Montréal, Canada)
-Animatou 2017 (Geneva, Switzerland)
-Turku Animation Film Festival 2017 (Turku, Finland)
-Anibar International Animation Festival 2017 (Peja, Kosovo)
-Fantasia International Film Festival 2017 (Montréal, Canada)
-Anilogue International Animation Festival 2016 (Budapest, Hungary)
-Seoul International Women’s Film Festival 2017 (Seoul, Korea)
-Kyev International Short Film Festival 2017 (Kiev, Ukraine)
-Glasgow Short Film Festival 2017 (Glasgow, Scotland)
-Lviv International Short Film Festival Wiz-Art 2017 (Lviv, Ukraine)
-Chicago Feminist Film Festival 2017 (Chicago, IL, USA)
-Les Rendez-vous du cinéma québécois 2017 (Montréal, Canada)
-International Short & Independent Film Festival 2016 (Dhaka, Bangladesh)
-Animage International Animation Festival of Pernambuco 2016 (Recife, Brazil)
-GIRAF Animation Festival 2016 (Calgary, Canada)
-Grand Rapids Feminist Film Festival 2016 (Grand Rapids, MI, USA)
-Tofuzi International Festival of Animated Films 2016 (Tbilisi, Georgia)
-Animasivo 2016 (Mexico City, Mexico)
-Anima Syros 2016 (Syros, Greece)
-Festival International du Film d'animation de Paris 2016 (Paris, France)
-Milano Film Festival 2016 (Milan, Italy)
-World Festival of Animated Film 2016 (Varna, Bulgaria)

Complete list of festival selections : https://lorimalepart-clitoris.tumblr.com/screenings

Etsy shop for clitoris plushies : https://www.etsy.com/shop/LoriClitori

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Working with Animal Alliance we crafted a spot to shed light on a new bill passed by the Ford Government in Ontario. The purpose of Bill 156 is to conceal unacceptable conditions at farms, workplaces and agri-businesses, and to safeguard financial interests of large factory farming operations.

Credits:
Client: Animal Alliance of Canada
Production Studio: Polyester Studio
Creative Director: Jeremy Dimmock
Writer: Egin Kongoli
Lead Animator/Compositor: Jakub Szczesniak
Cel Animators: Marylou Mao, Sarah Abbott, SJ Lee, Lily Chiao, Ines Fragueiro, Daniel Hwang, Tianyi Zhang, Sasha Bogolyubova

StyleFrames and Storyboards: Glenn Thomas

Music and Sound Design: Roger Lima, White Noise Lab

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Short trailer and art for IBM films: Connect or Disconnect

Production Studio: Polyester Studio
Design & Animation: Jeremy Dimmock & Bob Zagorskis
Audio by Aimar Molero
Artist/Studio Rep: Bernstein & Andriulli

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“Sometimes the need for mystery is greater than the need for an answer.” — Ken Kesey

A mystical journey of a powerful shaman from the deep jungle to the cosmos, based upon a very ancient Peruvian legend.
The old man wanted to find a way to heal people’s souls more profoundly so he sat under a tree and started to meditate for such a long time that at some point a vine sprouted from his chest and climbed on the tree up to the sky, becoming a link between the Earth and the Cosmos.
The vine was called Ayahuasca and the people from the village discovered that combined with the chacruna leaf, it had great healing properties. 

Direction, Animation, Music by Jules Guérin.

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Canadian director Clement Virgo discusses what it means to be Canadian as part of TIFF's original content series in connection with Canada's 150th birthday. 

We're working with The Toronto International film festival (TIFF) to animate the many culture and film based talks and interviews in their archives.

With sound/music by Jeff Moberg.

Credits:
Production Studio: Polyester Studio
Creative Direction: Jeremy Dimmock
Producer: Robyn Smale
Animation and art: Dani Cordero, Luis Campos, Oliver Dead, Devin Emery, Sarah Choi
Final compositing and colour correcting: Bob Zagorskis
Music and sound design: Jeff Moberg

Client: TIFF / Toronto International Film Festival
Narration: Clement Virgo

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AU REVOIR JÉRÔME ! - Animation Short Film 2021 - GOBELINS

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I was lucky enough to be part of an animation done in Polyester for TIFF. This is the part I designed and animated.

See the full animation here:  https://vimeo.com/237589445

We're working with The Toronto International film festival (TIFF) to animate their many culture and film based talks and interviews in their archives.
This talk by Canadian director Clement Virgo on what it means to be Canadian was selected to coincide with Canada's 150th birthday. With sound/music by Jeff Moberg.

Credits:
Production Studio: Polyester Studio
Animation and art: Dani Cordero, Luis Campos, Oliver Dead, Devin Emory, Sarah Choi
Final compositing: Bob Zagorskis
Producer: Robyn Smale
Music: Jeff Moberg

Client: TIFF / Toronto International Film Festival
Narration: Clement Virgo

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Directed and Art Directed by Danae Gosset

Produced by Pencil Studio

3D Lead Design & Animation: Vasco Gross
3D Character Animation: David Bonilla

2D Animation: Britton Korbel, Isabel Stub, Amy Cho, Ewan Creed, Gabby Sibilska, Emma Zwickert

Titles Design by Julie Pavia

Thanks to Patricia Gloum



For this video we used some prompt-based Artificial Intelligence technology to generate the backgrounds. We then produced and layered a lot of 3D animations, footage, and illustration on top of it to make the video feel special and tailored to the song.
We then proceeded to illustrate individually all of the frames with a variety of mediums such as watercolor, gouache, acrylic, color pencils, and pastel. As a last coat, we re-generated the entire hand illustrated video through a style transfer AI program. We set it to more or less opacity in some areas of the video, to act like a digital glaze on top of it, without losing the hard labor of the handmade quality.

The story we aimed to communicate is about escaping, embracing, and surrendering to the unexpected. Pushing the metaphysical and mystical sense of the human experience, feeling that we belong from the sole exploration of our minds and into the infinity of space.
An abstract and psychedelic visual exploration of self-introspection and imagination.

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Directed by Cossa

Animated by: 
Cossa
Hunter Thomson
Iván Bocanegra
Pete Puskas
Flatland

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Funded by This American Life 
Written and Narrated by Robert Krulwich
Animation Directed and Designed by Nate Milton
Based on the work of Aatish Bhatia 
Music by Buck St. Thomas 

http://natemilton.com
https://open.spotify.com/artist/3KiADQLV8xnI7FHTJ2059L

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HAIRY POUTER, a film designed entirely by AI. Directed by Chris Carboni. Sound by Ambrose Yu. Music by Charles Di Raimondo.

Lillian is 98. She just finished reading HARRY POTTER AND THE SORCERER’S STONE. This is her book review as interpreted by an AI image generator.

We wanted our visuals to be infused with the same unexpected interpretive qualities found in Lillian’s descriptions. The goal was to take a beloved, iconic story known the world over and put it in the hands of possibly the only two collaborators with the ability to spin it into something new.

Lillian’s creative recap of this familiar story is taken through a funhouse hall of mirrors by inputting her prompts into an AI image generator without any added context that might guide it’s interpretation toward the original source material. And thus, a new classic is born. We’ll let the world decide which version is best.

To learn more about our process and to view a trove of additional artwork created for this project, visit reunion.xyz/hairy-pouter

Additional magic can be found on our IG as well - 

@reunion.xyz
@_chriscarboni_

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How Small! 《小孩》

USA/China | 2021| color | prores | 16:9 | animation | Chinese dialogue 

A young woman reminisces about her deceased grandmother, whose volatile personality troubled and confused her as a child. 

Written, Directed and Animated by Charlene Xu
Producer: James Qiu / Charles Dong
Composer: Haibei Wang
Sound Designer: Romain Sturma / Camille Thomas
2D Compositor: Zihao Su
Color Assistant: Sizhen Wang / Mingxuan Cao / Zoya To / Adela Hurtado
Guitarist: Braulio Lin






Festival Selections:

National Board of Review 2021, USA
Los Angeles Animation Festival  2021(Best Student 2D Animation), USA
NOWNESS China New Talent Award 2021, China
Beijing FEINAKI Animation Week 2021, China
SUPERTOON International Animation Festival 2021, Croatia
Bucheon International Animation Festival 2021, South Korea
Piccolo Festival Animazione 2021, Italy
ANIMAC International Animation Film Festival of Catalonia 2022, Spain
San Francisco International Film Festival 2022, USA 
Seattle International Film Festival 2022, USA 
CAAMFest 2022, USA
Los Angeles Asian Pacific Film Festival 2022, USA 
Brooklyn Film Festival / KidsFilmFest 2022, USA
Durban International Film Festival 2022, South Africa 
NYU Animation Showcase 2022, USA
Cortocircuiti 2022, Italy

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Reanimation! is a seven-part series created by seven animation teams and 12 scientists, writers, engineers, physicists, and an archaeologist, on the lasting impact of Shelley's famous work.

Each episode waxes poetic about different scientific, ethical, and philosophical domains and the lessons we've collectively learned from Dr. Frankenstein's mistakes and triumphs.

The series delves into the origins of life and consciousness, toolmaking, artificial intelligence, augmented bodies and minds, and the ethics of playing God.

This film was made in collaboration with Arizona State University's Frankenstein Bicentennial Project, MIT Press, and the Alfred P. Sloan Foundation. It was created and produced by Harriet Bailey and Nadja Oertelt for Massive Science and Plympton Media. It was animated by a team of award-winning animators from around the world: Daniela Sherer, Angela Phillips and Phoebe Halstead, Rosanna Wan, Moth Studio, Amia Yokoyama, Joe Bichard, and Caitlin Craggs, with sound by the renowned team at Skillbard.

Episode 1: A Bolt of Lightning

Britt Wray, science communicator, co-host of BBC's Tomorrow's World, writer, and producer joins ecologist and biologist Ben Novak to discuss the permeable boundary between life and death - and humans and nature. Animated by the talented Daniela Sherer with sound by Skillbard.

Episode 2: Organization from Chaos

Sara Imari Walker, a theoretical physicist and astrobiologist at Arizona State University, and Caleb Scharf, an exoplanetary scientist and astrobiologist at Columbia University, discuss how intelligence and life may have emerged from chaos. We might not be able to recognize life other than our own, and this presents a philosophical and scientific challenge to humans in the universe. Animated by ARC, a beautiful animation studio created by Angela Phillips and Phoebe Halstead with sound by Skillbard.

Episode 3: A Spark of Consciousness

David Chalmers, renowned philosopher and cognitive scientist and Danbee Kim, a comparative neuroscientist, tease apart the complicated nature of behavior and its relationship to neural circuitry as well as the environment. What exactly makes us conscious and why? Animated by the amazing Rosanna Wan with sound by Skillbard.

Episode 4: Tools of Our Own

Have you ever wondered about the evolution of human tool use? How are Paleolithic stone tools related, cognitively, to the development of genetic engineering tools like CRISPR? Genevieve Dewar, a paleoanthropologist and archaeologist at the University of Toronto, and Kate Krueger, a molecular biologist and research director at the nonprofit New Harvest, explain some of the larger implications of our desire to mold the world around us. Wild and woolly stop-motion animation by Amia Yokoyama with sound by Skillbard.

Episode 5: Better Humans

Braden Allenby, an engineer and ethicist at Arizona State University and Conor Walsh, a biomedical engineer at Harvard and founder of the Harvard Biodesign Lab, discuss what our bodies might look like in the future. What does it mean to be human when we can use new tools to alter our phenotype? Is the use of engineering to change the human form new or are we simply using new methods to satisfy an evolutionary desire for change? With explosive animation by the animation team at Moth Studio, and sound by Skillbard.

Episode 6: Monsters in the Machine

What are the implications for humanity when we create intelligence, or try to, in non-human forms? Margaret Wertheim, author and historian of physics and math, discusses the implications of ignoring the ethics of AI. She is joined by Daniel Bear, a Stanford neuroscientist and AI researcher, and Braden Allenby, an engineer and ethicist. Animated by the cheeky Joe Bichard with sound by Skillbard.

Episode 7: Playing God

In the final animated poetic rumination of the implications of Frankenstein 'creating life,' Britt Wray, science communicator, Sara Imari Walker, theoretical physicist, and Genevieve Dewar, paleoanthropologist and archaeologist, discuss how open, ethical debates between researchers and the public are the only way forward when dealing with the unknown. With whirlwind animation by the stop-motion animator Caitlin Craggs and sound by Skillbard.
We're excited for Reanimated! to be exhibited publicly on Sunday, June 10 at Pioneer Works in Brooklyn, NY, as part of their Second Sundays series. The event is free and open to the public with an RSVP.

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What have we learned from science's most infamous doctor-patient relationship?

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Reanimation! is a seven-part series created by seven animation teams and 12 scientists, writers, engineers, physicists, and an archaeologist, on the lasting impact of Shelley's famous work. Each episode waxes poetic about different scientific, ethical, and philosophical domains and the lessons we've collectively learned from Dr. Frankenstein's mistakes and triumphs.

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Headspace Guide to Meditation // Snippet 1

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Headspace and VOX media were kind enough to invite me to direct an episode of their first Netflix series- Headspace Guide to Meditation. You can catch the full episode on Netflix now. It was a real treat to work with such a talented crew on what I think is is a very lovely series.


Director	Alex Grigg

Production Company 	Blink Industries
Executive Producer	James Stevenson Bretton
Senior Producer	Melissa Venet
Production Manager	Jolien Buijs

Design	Laurie Rollitt

Compositing	Rob Ward

Lead Animator	Joe Sparkes

Animation Team 	
Hozen Britto
Michael Towers
Sabine Volkert
Sean Weston
Joe Cheng
Joumana Ismail
Krisi Zhupali
Elena Bolado
Natalie Gray
Ned Mackness
Jamie Hobbs

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Headspace Guide to Meditation // Snippet 2

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Headspace and VOX media were kind enough to invite me to direct an episode of their first Netflix series- Headspace Guide to Meditation. You can catch the full episode on Netflix now. It was a real treat to work with such a talented crew on what I think is is a very lovely series.


Director	Alex Grigg

Production Company 	Blink Industries
Executive Producer	James Stevenson Bretton
Senior Producer	Melissa Venet
Production Manager	Jolien Buijs

Design	Laurie Rollitt

Compositing	Rob Ward

Lead Animator	Joe Sparkes

Animation Team 	
Hozen Britto
Michael Towers
Sabine Volkert
Sean Weston
Joe Cheng
Joumana Ismail
Krisi Zhupali
Elena Bolado
Natalie Gray
Ned Mackness
Jamie Hobbs

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A short animated film by Michaela Mihalyi & David Štumpf.



"Sh_t Happens" is this week's Staff Pick Premiere! Read more about it here: https://vimeo.com/blog/post/sht-happens-by-david-stumpf-michaela-mihalyi/

Synopsis: 

An apartment building full of self-centered inhabitants. Utterly exhausted caretaker and his sexually frustrated wife. Widowed deer drowning his sorrows in loads of alcohol… While trying to cope with their problems, they find themselves in a hard-to-solve triangle asking for absurd and irrational solutions. Well, shit happens all the time.
 
CREDITS:

Written & directed by Michaela Mihalyi & David Štumpf
Production:  BFILM (Peter Badač)
Co-production: BAGAN Films (Patrick Hernandez, Véronique Siegel) & FAMU (Ondřej Šejnoha)
Animation & compositing: David Štumpf
Art design: Michaela Mihalyi
Editing: Katka Pavelková
Music composer: Olivier de Palma 
Sound: Damien Perrollaz, Francesco Porcellana
Color: Matej Mihályi, Diana Cam Van Nguyen, Kriss Sagan, Bára Halířová, Peter Martinka, Kateřina Karhánková, Michaela Mihalyi, David Štumpf
Production manager: Jakub Rálek

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When CreateMe invited us to collaborate in their fashion industry revolution, we couldn't be happier to bring our vision to the mix. To launch their innovative solutions, bringing creators closer to their audiences in a revolutionary way, we directed this...