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I chose this video as a source of inspiration because the numerous locations all shot in the same way is very cool in terms of visual storytelling. You can see the layers unfolding within each civilization as the camera pans further within its walls. I think the repetitive movement also helps to contrast the different settings and make each scene more impactful. It doesn't get boring to watch in my opinion, especially with so muchy detail in the background. Also, the instrumental and narration really enhances the atmosphere of experiencing something grand.

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Chris Finn

Hey! I'm Chris Finn, Creative Director / Director at Scholar.

Scholar is a studio dedicated to showcasing that "how we get there" is just as important as the finished product. We specialize in telling stories that rely on concept, live-action, & animation to defy the limits of reality. Driven by curiosity and an eagerness to engage viewers on an emotional level, Scholar's Los Angeles and New York studios blend artistry with techniques. Our goal is to forge braver, smarter content in a world in need of a voice and continue to push limits alongside our collaborative friends and brands, such as Bleacher Report to Nike, Acura, Apple, Google, Target, and beyond.

Danni

Hi! I'm Danni, Art Director at Scholar.

Tim Hayward

Hi, Tim Hayward, CG Supervisor at Scholar.

Fill us in on your Motion Design background and what led you to become a Motion Designer.

Chris

When I was in high school, I loved combining technology and art to make short films, Photoshop designs, etc. I started to create shorts that combined those two passions and naturally fell into motion graphics without knowing that term. The desire to turn that into a career led me to the Motion Media Department at the Savannah College of Art and Design (SCAD).

Danni

I began Motion Design after discovering it midway through art school and falling in love. I loved animation and the physics of motion itself, and this field gave me the opportunity to create short-form pieces that were more completely my own creative vision, which I loved vs the larger-scale corporate work in film and TV animation.

Tell us about the team behind your project.

Chris

Scholar is a collective of like-minded artists and creators who pride themselves on diving head-first into any creative challenge. Our team can shift and adapt to suit the needs of each project. For this piece, we combined the strengths of our CG and technical animation team with conceptual design artists, who often bring video game art to life. Storyboarders, designers, modelers, animators, FX artists, lighters, compositors, and more. World-building truly requires the full gamut of incredibly talented people.

How would you introduce your project to someone watching for the first time?

Chris

To introduce this exciting new game to the world, we took a unique approach to the traditional game trailer. Instead of relying on gameplay footage, we took a more cinematic and stylistic approach. Plucking each historical figure out of their typical period and casting them into an expansive world of wonder.

In essence, the trailer highlighted the core idea of the game, which is using your imagination and choice to reshape the course of history.

Take us through your process. How long did it take? What techniques did you use? What programs are you using?

Chris

For us, the process began in the early scriptwriting stages. We worked closely with the team at gnet to weed through all of the amazing in-game opportunities. From there, we worked to craft these moments into an exciting journey that would capture the essence of play.

Early stages included sketching storyboards, creating boardomatics for a sense of motion and timing, and pulling references. Danni and I first defined the worlds with visual references and mood boards, then dove into concept art paintings. These paintings focused on layout, environment, and lighting. They served as key foundational pieces that guided the look throughout the entire CG process and into finishing.

Tim

For this project, we spent just under three months in production, from the beginning of design to compositing. Most of the project was assembled and animated in Maya and ultimately rendered with Redshift. We utilized MASH when it came to the lush scattering of plant layouts and Phoenix FD for all of the volume simulations. The most challenging part for me involved the crowd setups. Putting together the motion capture library and setting up scripts to add variation, all while keeping it usable for the artist, was a big hurdle that I was glad to have solved early in the project.

The way it keeps zooming into a world within a world is really cool. Did you ever think of the Men in Black end credits when you were making it? (Which kind of does it in reverse). Why did you choose to go this way, and what were some of your inspirations for the piece?

Danni

We didn't, but that is such a classic sequence that would've been fun to reference! The client came to us with the idea of an infinite zoom, which we were very excited about. We wanted to plus it up with dynamic close-to-camera action and creative, depth-filled transitions that felt surreal. We wanted it to feel like the world was sucking the viewer in and make people curious to see what would come next.

We had some fun references for this, my favorite of which was a very surrealist Asahi spot with a similar camera but very different feel and execution.

Did you have any other ideas you liked that you didn't go with? What were they, and why did you turn away from them?

Danni

We brainstormed the transitions like crazy while ideating this spot, so not all of those ideas made it into the final, but they were all really fun exercises in creativity to stay locked in this continuous camera while making it more interesting. We had countless concepts for building depth and trippy visuals for these transitions, like zooming into a landscape from a warlord's engraved armor and feeling it pull back in depth to become real

Can you give us some of the historical figures and eras that are featured?

Chris

The historical figures were chosen from the actual game, and assets were provided by the team at Oxide Games. The spot includes Nefertiti, Irene Sarantapechaina, Harun Al-Rashid, Benjamin Franklin, Copernicus, Joan of Arc, and more! It was a blast to work with such a diverse range of historical figures, expand on their wardrobe designs, and place them into unlikely settings.

What was your favorite moment or most fun part of the project?

Chris

I enjoyed working through the concept art phase, where we truly saw the mixtures of visual references Danni and I put together quickly coming to life. It was a creatively enjoyable experience. I found it to be like throwing paint onto a canvas, loose and expressive. The cool thing about concept art is that you're solidifying that end goal and using the images as a guide throughout the rest of the project. Those designs were opened on our monitors until the last day of production.

Danni

I always love the concept art part as well - it feels the most freeing and exciting in terms of exploration when everything is still open and full of possibility. I also really loved seeing the lighting pass come together - we initially had a different idea of what level of finish we'd get to in the 3D raw renders, and planned to do a secondary stylizing process to plus them up. But they turned out so beautifully right out of the pipeline that we ended up nixing the extra pass and going straight to color and comp, which was so cool to see.

Did you face any difficulties along the way? If so, how did you overcome them?

Chris

As with any "world-building" job, the sheer number of assets needed to bring the environments to life requires a giant feat of technical management. From water fountains and monuments to hammers and wood planks and everything in between. We relied heavily on the strengths of our CG team, pipeline, and of course, spreadsheets to get us through those builds.

How do you deal with creative doubt on a project?

Danni

I think a lot of creative doubt comes from feeling stuck inside a box or losing the inspiration that got you excited in the first place. A lot of times, going into the more technical development, the initial spark of a project can get lost. I always try to go back to the inspiration I had at the beginning, whether that means looking at the references I pulled that got me most excited during lookdev, talking to someone outside of the project and seeing their fresh take on it, or watching through other inspiring pieces that I initially used as inspiration. Any way to get out of my own head and re-spark that excitement.

When you feel stuck or need inspiration, where do you find it?

Chris

There are so many amazing resources to find inspiration today. From Pinterest, to Netflix, ShotDeck and of course, Motionographer. It can be incredibly helpful, but it can also be a lot and overwhelming. So, it's all about balance. Often I run towards those creative outlets, other times I run in the opposite direction and just hope to clear my head and find the answer. Getting outside, taking a walk, and just thinking is a great way to reset and clear some of the noise.

Do you have any advice for creatives on how to pursue their dream projects?

Danni

I'd definitely recommend doing personal explorations of the exact things you'd like to do - whatever work you put out into the world will end up being what you get hired for! Making it known what gets you excited is always helpful for people looking to hire for those types of jobs. Whether that means trying out that kind of aesthetic or project on your own time, or simply expressing on your socials or website that you are interested in working on certain things, it's always nice to hear that someone's excited to work on a project if you're hiring for it, and having work in your portfolio that reflects that is 100% helpful for those looking.

Money no object; what would you love to work on most?

Chris The advancements in virtual production and Unreal are exciting, and I think there's an opportunity to apply those tools to more stylized or abstract creative work that we haven't seen yet. It looks dang good on the Mandolorian, but what else...? I'd love to work on something like that in the future.

Danni

I'd love to work on a really cool modern anime, doing wild character animation and FX. Something that has cool female characters and fun stylization, with crazy transitions. That's the stuff.

Tim I would really like the opportunity to work on a kid's show. Along the lines of "Trollhunters: Tales of Arcadia" or "PJ Masks." Stylized and colorful 3D is my favorite.

What were some ground-breaking moments in Motion Design that have shaped the way you think?

Chris The introduction of 3D into a very 2D motion graphics realm has been pretty ground-breaking. 3D now takes on so many different styles, shapes, and forms, sometimes even hidden on the surface. As a technical-minded person who loves to get my hands dirty on the computer, it's hard not to look back at some milestones for tech like the speeds of Redshift and GPU rendering, asset libraries like Quixel Megascans, KitBash, etc., and even the now popular Ai generated artwork from MidJourney. So many ground-breaking advancements happening every day, and are easily accessible to artists. It's certainly changed the way I approach design and experimentation.

What do you think we could do as a community to work together more and drive the industry forward?

Danni

I think basic respect/empathy and shared excitement/inspiration is paramount. A lot of times, we get lost in the production and forget that the people we work with are also driven, excited artists with a vision. Losing that perspective makes the project itself less successful, not to mention our human connection and artistic synergy. Respect and priorities in terms of mental health and artistic sustainability should be built into our systems as much as possible, so we can all be happier and more fulfilled while creating something we're genuinely passionate about, and have the capacity to apply our best creativity to what we're making.

What's next for you and your team?

Chris

So many exciting projects rolling through the doors over here at Scholar. It's hard not to try and jump on them all. From live-action to animation and everything in between, we're hoping to continue leveling up the work we do. Working even closer with amazing brands and folks who share a similar passion for using art to influence change.

I'm personally most enthused by live-action work with a stylistic twist or a mixed-media bash with animation sprinkled in. Finding new ways to approach live-action or flip it on its head is exciting and something I'm looking forward to doing more of.

Danni

I've loved branching out and trying all the new styles on different projects at Scholar - there's never a dull moment and always something new to try! We have such a range of skillsets and mediums here. Recently I've been getting deeper into live-action and direction, which has been a fun new experience since my background is in pure frame-by-frame animation. Between that and the exciting new cel projects, character work, and technical challenges with new clients, it's definitely going to be a fun ride whatever direction it goes.

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Chris Finn Hey! I'm Chris Finn, Creative Director / Director at Scholar. Scholar is a studio dedicated to showcasing that "how we get there" is just as important as the finished product. We specialize in telling stories that rely on concept, live-action, & animation to defy the limits of reality.

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This piece stood out to me because of the mysterious feel it gave me.  Though the color palette was mostly neutral, it used light in a really intriguing way to create interest and beauty.  I loved the way the "camera" seemed to move in one continuous shot throughout, making it appear seamless.

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The Mill | Cabinet of Curiosities - Title Sequence

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Motionographer shares inspiring work and important news for the motion design, animation and visual effects communities.

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When going through the motionographer website, this animation smooth, flowy, has stunning visuals and lots of movement. It also has this type of vibrant appeal with the colors incorporated. It also has lots of actions in some scenes as well as a sense of buoyancy in some other scenes. Not only are the visuals absolutely breathtaking but the story telling along with the motions is absolutely amazing and they work together perfectly in harmony balancing each other out.

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From the creator:

"Between Lines" is an animated short film created by an all-women team that speaks to the scarring experience of schoolgirl bullying - and the recovery that follows. The narrative follows a young woman's journey as she navigates isolation, exclusion and anxiety. Out of trauma, blooms a sense of healing and connection.

Learn more at betweenlinesfilm.com

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CREDITS

A film by Sarah Beth Morgan, in association with Hornet.
Our team proudly features over 30 insanely talented women from all over the globe.

Director: Sarah Beth Morgan
Animation Director: Taylor Yontz
Producer: Rebekah Hamilton
VO / Sound / Music: Jennifer Pague
Art Direction: Sarah Beth Morgan

Design: Nuria Boj, Caroline Choi, Sarah Beth Morgan, Sara Ariel Wong

Animation: Margaret Bialis, Erin Bradley, Amy Charlick, Esther Cheung, Rocio Cogno, Julie Craft, Antoinie Eugene, Thea Glad, Amanda Godreau, Michelle Grepo, Sami Healy, Yahira Hernandez, Jasper Hilgers, Yino Huan, HyoBin Kang, Collin Leix, Katherine Pryor, Rachel Reid, Issey Roquet, Anna Taberko, Aly Tain, Camille Vincent, Pip Williamson, Khylin Woodrow, Rachel Yonda, Taylor Yontz

Story: Sarah Beth Morgan
Poem: Nirrimi Firebrace

Mix by: Hope Brush
Strings Producer: Sophie Coran
Violin: Shelby Yamin
Cello: Nicole Boguslaw
Strings Recorded by: Michael Cumming at Treacle Mine Recording

Special Thanks: Hornet, Dez Stavracos, Tyler Morgan, Molly Bowman

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LINKS

Official Website
betweenlinesfilm.com

Made in Association with Hornet
hellohornet.com

Instagram
instagram.com/wonderfall

TikTok
tiktok.com/@wonderfallll

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From the creator: "Between Lines" is an animated short film created by an all-women team that speaks to the scarring experience of schoolgirl bullying - and the recovery that follows. The narrative follows a young woman's journey as she navigates isolation, exclusion and anxiety. Out of trauma, blooms a sense of healing and connection.

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I was on the site for only a few minutes before I saw the beginning phase of this one. It immediately caught my attention based off of the 2-D animation that it started off with. Its so busy and colorful that it catches one's attention with ease. It makes me think of how a child's mind works honestly. It can go from being simple to astounding in less than a few seconds. I wanted to share this piece because I have a hard time looking away from it. Each time the video finishes, I just want to watch it again and its extremely satisfying to watch. The fact that it starts off in a simple 2-D style but morphs into a complex 3-D style with varying degrees of detail just astounds me. Overall I really believe that its worth the watch for this one. Its crazy just how different one person can see a piece than another!

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SXSW 2022 Film Festival | Opening Titles

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Our friends at SXSW invited us to create the opening title sequence for the 2022 Film Festival. It's our fourth year collaborating together. This time we wanted to build an anthology of different visual styles to speak to the diversity of genre and film that play at the festival.  There are 14 easter eggs hidden throughout the titles. Can you spot them all?


Visit coatofarmspost.com for full credits.

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After browsing through the various graphics on the site, I ended up deciding to share this one because of its collaborative nature. Each animation is so distinctive and unique and yet each flowed absolutely seamlessly into each other making for a very pleasant viewing experience despite all the contrasting styles, textures, colors, and compositions. Each animation was only 3 seconds long, but somehow they all felt much longer than that.

Each artist's interpretation of the red ball's movement was super creative and I loved how the red ball was always the focal point regardless of whatever colors or shapes were used, making sure your eye was continuously tracking its journey from animation to animation.

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From the creator:

Idea:
3 second animation of a ball.
Pass it to someone in another country
They pick up where you left off.

40 animators
40 months in the making...

Concept: Nathan Boey

Animators (in order):
Nathan Boey
Podenco
Leo Franchi
Vincenzo Lodigiani
Mario Forero
Kaho
Dina Amin
Vickie J Boschiero
Vincent Raineri
Caroline Kjellberg
John Kim
Mert Kizilay
Ilgi Candar Dyer
David Rowley
Wendy Eduarte
Morgan O'Brien
Marcus Bakke
Steve Savalle
Allen Laseter
Andy Gregg
Jaren Tigani
Alex Delker
Tushar Pandey
Ameen
Vishal Varghese
Gaurav Chandrakar
Yat Fung Leung
Lego Lam
Knifeson Yu
Sabine Volkert
Ivyy Chen
Tung Wu
Jin Shen Wong
Brandon Kisereu
Salman Hashmi
Ryan Kane
H. Kristen Campbell
Joe Bichard
Nicholas Luchak
Serkan Goncagul

Sound design and Mix by Jose Correa @fellowwave
Music courtesy of Sanctus Audio

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Multi artist collaboration | Pass the Ball

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From the creator: Idea: 3 second animation of a ball. Pass it to someone in another country They pick up where you left off. 40 animators 40 months in the making...

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Went through a few good videos, but this one really made me feel inspired! Everything from the pacing, the colors and designs, to the story telling were all so fun and gravitating! It even had a behind the scenes segment at the end, so I could see the break down. I just loved the style used for the world-building and how the scene was conveyed. You see some good establishing shots of the surroundings, the characters, and of course the main conflict... her shoes. I wondered about it or only moments before I was given an answer as to why she was not only in trouble, but why the shoes were a focal point, as well as the abilities that came with it.

It seemed to have a strong cyberpunk inspiration for the setting. I love future-esque aesthetics, and the lights were all such nice environmental additions, without feeling overloaded somehow.

The lively story is overall what drew me to picking this video due to it's fun pacing, but the look is definitely what first drew me in. It sets the tone of what kind of scene to expect, and definitely delivered on quality. Would recommend anybody to see it!

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Something's Awry Productions

From the creator:

Created in two months by Kris Theorin using motion capture and other techno wizardry this personal project became a pulse-pounding foot chase through a neon-drenched cyberpunk city.

Credits: Directed, Animated, Edited, Sound Designed by Kris Theorin. "Up All Night" by Midnight Riot provided by Musicbed. Character Design and Modeling by Kris Theorin. Additional Models from KitBash3D, CGTrader, and TurboSquid.

Tags: Cyber Kicks, Quickie, Quickies, Something's Awry Productions/Kris Theorin

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Something's Awry Productions/Kris Theorin | Cyber Kicks

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Something's Awry Productions From the creator: Created in two months by Kris Theorin using motion capture and other techno wizardry this personal project became a pulse-pounding foot chase through a neon-drenched cyberpunk city. Credits: Directed, Animated, Edited, Sound Designed by Kris Theorin. "Up All Night" by Midnight Riot provided by Musicbed.

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On motiongrapher I found this cool video about different types of Taiwanese food, it reminds me of this stop motion channel PEZ on youtube that I would watch all the time when I was young and I remember all the different textures they used like felt. I think the use of this texture really makes the video stand out and adds charm to it.
I chose this video because of the colors, textures, and aesthetics they used.

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From the creator:

Director | Taylor Su
Designer | Taylor Su
Animation | Taylor Su

Music | Youtube Audio Library

Taiwanese Food is a personal project I made fro myself to soothe myself from the homesick of Taiwanese food. I grew up living in the night market, and street food is certainly the food that represent "home" to me.

I took two classes on skillshare, one is called Level Up Your Typography: Creating Animated Stickers in After Effects, by Manon Louart , the other is called The Stop Motion Look in Adobe After Effects by Jake Bartlett. I thought it would be really nice to combie the skills I learned in these two courses and make them into something of my own. I have a lot of fun making this animation, and I hope it brings you joy as well.

NFT:
https://foundation.app/@taylorsusart/~/113491

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From the creator: Director | Taylor Su Designer | Taylor Su Animation | Taylor Su Music | Youtube Audio Library Taiwanese Food is a personal project I made fro myself to soothe myself from the homesick of Taiwanese food. I grew up living in the night market, and street food is certainly the food that represent "home" to me.

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The first thing that came to mind when I saw this short film is the geometric shapes and lines. After watching it, the use of circles stood out to me the most because it was in the middle of the screen which composed a lot of illustrations like a seal, sunflower, tadpole, planet, and much more to list.

My reason for sharing this is because the animation motion in this video was really smooth. I also like the whole aesthetic of nature and space in this video even though it is meant to be educational. In each sequence, there is a certain color palette used so that there is no overwhelm colors for the viewers. There was also depth of field when the subject in the center is the focus. Overall, this short film demonstrates good use of design using motion graphics.

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Crafted with an unusual degree of care for getting the details right, the short film celebrates science and nature via geometrically constrained vignettes of animals, technology and natural phenomena. It's the sort of film you can watch again and again, unearthing new layers of beauty with each viewing.

In a very special case study for Motionographer, Chromosphere, the collective behind the project, and David Kamp, one of motion design's most prolific sound designer/composers, shared all the details behind making the project.

Making "Forms in Nature" with Chromosphere and David Kamp

Where did the idea for this film come from?

Kevin Dart The genesis of this idea is just a feeling of wonder that a lot of us remember from childhood visits to the science museum or from sitting in a classroom watching the space shuttle launch.

We wanted to make something that would evoke those same kind of feelings when you watched it - a sense of awe and inspiration at the beauty of our world as well as mankind's incredible scientific achievements. There was also an idea I was thinking about for a long time about how science and nature can't really be separated from each other: science is all based on observations of things in nature. So if you just look at the world around you, you can see the science in action everywhere.

Stéphane Coëdel It's been a while that Kevin has been telling me about his intention to make a piece on science and nature that would contribute to educating the younger generation and stimulate their curiosity for understanding how the world around them works, and would bring back memories and feelings that the older generation might have had growing up in an era of scientific innovation.

Watching programs on TV that were using an artist's vision to support their educational speech. Being myself a science fan, it was pretty easy to jump on board. I'm pretty nostalgic of this era when TV networks were really excited and adventurous in promoting science shows. Some of them had very strong visual openings paired with very specific sounds and music.

They had a real impact on my imagination as a kid. These made me feel like science was the key to the future, and allowed my speculative mind to go wild. That's what we tried to recreate with our film.

KD It was really hard to figure out where to start, because it's such a huge topic with so much material and possible routes to take. We were initially more focused on the space exploration aspect, but it didn't seem to quite capture the complete picture of what we wanted to represent.

At the end of 2014, I was starting to work on ideas for an art show and wanted to approach the idea of science and its relation to nature again. The first thing I did was gather lots of inspirational materials - especially images of old science books and pamphlets - anything that evoked an aspirational view of science.

A lot of these use bright colors and graphic shapes that would help inspire the visual style I decided to use for the film.

KD The scale of it was really daunting, so to pare down the concept, I started researching and writing a list of some of the most momentous scientific discoveries and innovations throughout history.

Once I had come up with a pretty diverse spectrum of topics, I then began to figure out images to go along with them.

KD Initially, I had imagined doing just a few circle-based images, but as I kept drawing, I realized there were a whole lot of things that could work within the circle composition. I also liked that symbolically the circle shape tied back into the theme of connectivity between science and nature.

So I started sketching tons of them. I actually wanted to do all "half images" that would make a complete circle when they were next to each other, but it was really difficult to find compositions that read easily when they were cut in half.

KD Eventually, I moved away from the split screen images and started coming up with full compositions because they were easier to read (although we did keep the split screen idea for some of the transitions in the final film).

I just made a little template and drew as many things as I could think of. It was really important to me for every image to represent something positive about science, such as Darwin's finches, Jane Goodall's discovery of tool use among chimps, complex animal societies, or various milestones of space exploration - and also images relating to eco-conservation.

KD The next step was to choose the best ones and create a final color script.

KD We knew from the beginning that this was leading to some type of animation, but it wasn't clear what shape that animation would take.

At first, I wanted the animated scenes to play in a random sequence in some kind of interactive exhibit. I talked to sound designer and composer David Kamp about the possibility of doing a modular score that could match up to any randomly cued animations in an infinite loop.

But to keep things simple, we settled on the idea of doing a 2-minute score with 4-second intervals (David's suggestion) that we could time the scenes to. It was a little scary not having a storyboard or any real plan to guide the finished film, but I had a good feeling that David's score would provide the structure we needed.

SC We thought that sound would be key to triggering the feelings we wanted. So we decided very early on that David's piece would be the canvas we'd build our piece on.

David contacted me about 6 years ago, after we released our first Yuki 7 short, saying that it would be great to collaborate on some future projects. But somehow we never got the opportunity to do so.

Since then, David kept being involved in amazingly cool projects, and I'm a big fan of his work. When Kevin mentioned his name, it was a no-brainer to me.

David Kamp When Kevin came to me with this project, it was immediately clear I wanted to be involved - not only because I remembered our previous collaborations as fun, but also since I love the style of illustration and can personally relate to the subject and message.

That, combined with the level of attention to detail, present even in the earlier illustrations I saw made want to be part of this. Later, seeing the animations come to life shot by shot with an equal amount of detail and love by Stephane and Nelson was amazing.

SC Kevin and I had few different references about music and sounds. We both wanted some synthetic vibe.

Kevin's main reference was the Bill Conti opening score for the movie "The Right Stuff".

Mine was the early work of Jean-Michel Jarre, especially his album "Oxigene".

The Moog instrument was something I wanted to refer to since back in the 70s, it was often associated with science or science fiction. The rest was all up to David.

DK Regarding my process for the music: As with most projects I work on, I followed my gut feeling to figure out the right type of soundscape for this one, spring-boarding off the original music suggestions they had supplied. I steered away from some of the initial refs a bit, as they felt a bit over the top, but stuck with the synth heavy approach.

I knew early on, that I wanted the music to be very harmonically structured and pattern based, sort of mimicking the visual style of the illustrations - as opposed to a more ambient approach which would have been an option as well, looking at the calm and static landscape shots throughout the piece.

The tool of choice to create these musical patterns and structures were many overlapping arpeggiators* creating evolving overlapping patterns with the roughly ten instrument voices they were triggering. Arpeggiators also happened to be a popular tool in 70s and 80s synth music, so it made sense stylistically as well with the 80s/70s synth sound palette I was using.

While using all those overlapping patterns, I had to make sure the musical accents at edit points and major animation actions remained very pronounced (underlining the "seconds grid" of the edit and animation structure we came up with at the beginning) so that made me add a rhythmically very simple "theme" on top of the whole thing to help mark some visual key points.

Here is a montage of some of the sketches for the music, ending with the final version.

DK Once all shots were in their final visual stage, the last step was adding sound effects. There are moments where the music sort of takes the function of sound effects (like the melody in the shot of the birds nest) but for most other shots, I stayed away from "Mickey Mousing" too much.

The purpose of the the sound effects was to give some more depth and immersion and an occasional detail to some shots without distracting from the already very dense music mix. As a result, there are some shots that have no sound effects at all - music was supposed to take a clear lead on this film.

So I made a conscious effort to only add sound effects where they really added something new to the shot, while trying to keep them very simple and clear. This meant using mostly "non-structured" sound effects, like a continuous gas/ventilation hiss for the Large Hadron Collider (1:20), or some low drone for the underwater shots that would not interfere with the rhythms and patterns the music was doing.

In the rare cases where there were pronounced sound effect accents, I made sure they would happen in time with the music's rhythms. A good example is the movement of the telescope here:

I also adjusted the pitches of some of the sound effects, so the inherent harmonies of some of the sound effects would match those of the music - in an effort to make the sound effects less of a distraction from the music by "sticking out" harmonically.

Here is a making-of video focussing on the sound effects, to hear them, clearly music is mixed at a very low level:

The more realistic source sound effects stem for the most part from various sound effects and ambience recording sessions I made last year. For another project, I had access to some non-public municipal facilities, where I recorded the hissing and resonating sounds of a gas station, for example. These recordings were used in the Large Hadron Collider shot in the film.

DK The bee shot in the film uses sounds I recorded at a beehive last year.

Hint: Having your headphones within a beekeepers suit and hearing the sound of 10,000 bees in full stereo buzzing around the microphones while recording turns your brain into panic mode. There was a lot of hysteric waving at non-existent bees.

In theory, I knew the bees were at the entrance of the beehive where the mics were and not within the suit and right at/in my ears - which is what it sounded like through the headphones. It took me a while and some serious zen tactics to be able to stand there without constant waving and jumping around.

KD When it came to creating the final paintings, I first created a grid template that I would use as the basis for every illustration. It's broken up into 64 squares wide x 32 squares tall with a circle in the center that's 16 squares in diameter.

I also created a file filled with circles of different diameters - 2, 4, 8, 16, etc. - that I could just drop into my paintings to create any circle shapes I needed. These templates really helped streamline the process and keep a certain visual consistency, as well as add a cool, slightly mathematical vibe to everything!

Every shape and detail in the illustrations is aligned to the same grid.

KD Pretty much as soon as I had finished the first few paintings, I handed them off to Stef and Nelson Boles to begin animating.

SC I started alone animating all the scenes, but it became clear at some point that the task might be too big for just one guy. So we asked Nelson if he'd be willing to help with character animation. He came on board early November.

I would find references on Youtube for each animal that Nelson would animate and send him the portion of footage that was relevant to the action.

SC We decided the action would be based on a 1 second pace. So each key action would happen at every one or two seconds, to make it easy to edit in sync with the music.

Nelson Boles Kevin hit me up about doing animation, and the shots Stef had already done were amazing, so I couldn't pass it up.

Everything was stemming from a real appreciation of how nature looks and moves, and I think that authenticity is sometimes neglected or streamlined in order to fit a narrative. So it was really fun to just bring these little moments to life without any baggage. Just things existing, unaware of us or the camera, letting you soak in a little moment somewhere on Earth (or nearby).

Stephane had all these great reference vids of animals doing very characteristic things. I felt my work was already done for me! The main challenge for me was translating this realism into the graphic rules Kevin set up, creating additional poses/angles that complimented the design but still felt seamless and natural when they moved.

NB TLDR: I took Kevin's PSD, imported that into an FLA as a PNG, created an SWF that Stephane put into an AEP which he probably then exported as a MOV.

KD Once the character animation was in place, every scene would go through Stef's incredibly artistic and detail-oriented compositing process. After working together for so many years, I have a good idea of what Stef will need in my PSDs, so I build each scene up in such a way that every single element will be possible for him to tweak and animate.

SC In my work, I very often fake 3D by using 2D tricks like parallax and re-constructed Z-depth to bring depth of field in the scene.

I use Kevin's PSD files that are layered to optimize the animation. Almost everything meant to be animated has its own layer and is properly named. I often have to re-build some graphics in After Effects using the shape tool, so the animation process gets more flexible.

I usually start by deciding in my head what I want the action and the camera move to be, and visualize effects and the lighting before I start animating. It's not a rigid process. Sometimes I just have a vague idea where I'm going when I start. And I let my instinct lead me, keeping in mind that the final look must be faithful to the artist's original design while bringing it to another level of depth and reality.

My goal is always to expand people's perception. I want them to feel like we're showing them a portion of something much bigger.

What role did the Foundation for Science and Nature play in this? Were they "clients" in the traditional sense?

KD It is a made up organization. I came up with that and the National Science Programme to try and make the film look more authentic.

It's meant to evoke the feeling of vintage educational films, and what educational film would be complete without some sort of government sponsorship?

Charley Harper, I'm guessing, was a big influence here. Is that correct? Who else and why?

KD Charley Harper has been huge influence for most of my professional career. One of my biggest takeaways from studying him and other artists like Ed Emberley is that graphic design occurs naturally everywhere in the wild. That's why a big part of my process involves obsessive research, and I have folders of reference photos for every single illustration in the film.

I'm always hunting for those beautiful natural shapes and details that make our world so interesting to look at. Charley Harper was a master at spotting those shapes and drawing them in his elegant graphic style.

It was really important to not make anything up for this film, because the whole point was to celebrate the natural beauty of our world and some of mankind's incredible scientific inventions. So yes, some of the visual philosophy is most definitely inspired by Charley Harper, as well as some of my other favorite designers like Tom Oreb, Eyvind Earle, and Maurice Noble to name a few.

I also took huge cues from Kubrick for the cinematography. The lighting and camera movements are sort of a style that Stephane and I have been developing together for years and is influenced by so many artists and filmmakers that it would be impossible to name every one.

Do you have a favorite sequence or moment? If so, which one and why?

KD My favorite moment is the scene with the Great White. I'm so happy with the music and animation on that scene, and I'm also just really passionate about sharks and shark conservation.

SC I have many but think the Shark/Snail moment is the strongest to me, mostly because of the music. At that moment David's music brings us to a higher level of depth. There a sense of mystery and adventure that bursts out during these two scenes that gives me the chill.

How long did you work on the project?

KD I started working on really early ideas at the end of 2014, but didn't start on the final color script until August 2015. Then I started on the final paintings in September.

SC I started animating the first scenes end of October 2015. The first I did was the Apollo lunar module. And I finished the last one on February 10. It was the frog eggs.

Did your work on "Cosmos: A Spacetime Odyssey" inform or influence this project in any way?

KD Yes, working on Cosmos really hit home the importance of doing research. I'm used to doing research for visual details, but I knew for this that I would also need to spend time researching the concepts and ideas.

It was also really motivating to be part of such a large scale effort to inspire young people and the experience made me want to do more of that.

It seems like science is on an upswing in mainstream media again. It's making headlines and challenging long-held beliefs in a way that it hasn't since the mid-20th century, when scientific optimism abounded. Do you agree?

KD Yes. I feel like in some ways there is still a strong anti-science climate in many corners of our culture, but overall it seems like we are on the cusp of a new age of scientific optimism.

Every week, there seems to be something incredible happening, whether it's SpaceX landing a reusable rocket, the New Horizons mission, or new insights into our biology. I think the Internet is helping in a lot of ways to fuel the quick sharing of ideas so in general people are more aware and informed of everything happening in our world and in the fields of science.

Things don't seem as far away as they used to, and I am really optimistic about the continued growing presence of science in all of our lives.

What would be your dream outcome for this project?

KD My dream is that it can play a part in inspiring young people with a love for nature and science, and instill the importance of not just understanding our world but also protecting it. I would also really love for this to be a springboard to doing work for non-fictional scientific and educational institutions. :)

SC I feel like we're reaching a key moment in our scientific history where everything is accelerating. The new discoveries happen at a faster and regular pace.

I hope our piece is contributing to feeding this global enthusiasm for research and science that I feel is surging lately. We'd love to be more involved in this wave and collaborate with real scientific partners.

Credits

Kevin Dart // Twitter @kevindart // Instagram @kevinzilla2000
Stéphane Coëdel
David Kamp // Twitter @kamptweets
Nelson Boles // Instagram @nelsonboles
Chromosphere // Twitter @chromosphereLA // Instagram @chromospherestudio

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"Forms in Nature," in-depth process with Chromosphere and David Kamp

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Credits Kevin Dart // Twitter @kevindart // Instagram @kevinzilla2000 Stéphane Coëdel David Kamp // Twitter @kamptweets Nelson Boles // Instagram @nelsonboles Chromosphere // Twitter @chromosphere...

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I picked this one because of its imaginary art of story telling that it presented. This animation reminds me of a mystery of life and death of cosmic beings that trapped these four souls. This was an interesting story line because of the depths of imaginary storytelling and how far you can imagine your story, that really stood out to me.

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The Forgotten Four | The 2022 Motion Awards

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Just beneath the surface of Convergence Station there lies a cosmic mystery-a mystery of four forgotten women and a gateway to the infinite. "The Forgotten Four" is a six-episode animated series created for Meow Wolf's Convergence Station, an immersive and interactive experience based in Denver, CO.

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What stands out for me in this piece is the fact how well done the details and graphics are. The combination of colors looks great: Neon blue + Dark red/Terracota.

I chose to share it because I believe it's a great example of how crazy the idea of the project can be, but what matters is how well it's been performed.

In this particular piece we see a Rag on a spaceship which is being created right in front of us.

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From the creator:

Pirot rug, Pirot carpet or Pirot kilim refers to a variety of flat tapestry - woven rugs traditionally produced in Pirot, a town in southeastern Serbia. Pirot kilim is often referred as one of the National symbols of Serbia.

Experimenting with virtually woven fabric. Envisioning traditional kilim in a futuristic setting.

Music: The Folk Orchestra of Radio Television of Serbia - Jesen stiže dunjo moja

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From the creator: Pirot rug, Pirot carpet or Pirot kilim refers to a variety of flat tapestry - woven rugs traditionally produced in Pirot, a town in southeastern Serbia. Pirot kilim is often referred as one of the National symbols of Serbia. Experimenting with virtually woven fabric.

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Looking through the different graphics I ended up chosing this one, It's an opening graphic for an American Horror Story episode and while I've never seen the show this opening immediately sets the tone for the kind of show its apart of. I think when it comes to graphics its good to show off the type of tone/the vibe you want to give off for its opening and for something thats for a piece of horror media I feel it immediately goes in for that type of feeling. One thing that stood out to me at first was the color scheme, using only black and red and a few shades in between. I think the color scheme helps the sinister vibe and goes well with the imagery throughout the video. I also really like the almost jerky and stilted movement, some of the images move slow before snapping quickly and it gives an uncanny vibe. I also really like the way the imagery looks, some of it looks like photographs layered on top of eachother and it makes me think of paper cutouts. Its full of a lot of interesting stylistic choices that just caught my eye which made it my choice.

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From the creator:

Client: FX / Ryan Murphy Productions

Post Production
Design Studio: Elastic
Creative Director: Hazel Baird
Lead Designer and Animator: Dave Penn
Animators: Bruno Ferrari, Daniel Moreno
Illustrations: Margherita Permuroso
Editor: Rachel Fowler
Producer: Mitchell Fraser
Deputy Head of Production: Zach Wakefield
Executive Producer: Luke Colson
Executive Producer / Head of Production: Kate Berry
Managing Director: Jennifer Sofio Hall

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Elastic | American Horror Stories - Ba'al - Episode

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From the creator: Client: FX / Ryan Murphy Productions Post Production Design Studio: Elastic Creative Director: Hazel Baird Lead Designer and Animator: Dave Penn Animators: Bruno Ferrari, Daniel Moreno Illustrations: Margherita Permuroso Editor: Rachel Fowler Producer: Mitchell Fraser Deputy Head of Production: Zach Wakefield Executive Producer: Luke Colson Executive Producer / Head of Production: Kate Berry Managing Director: Jennifer Sofio Hall

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Although I thought there were some amazing graphic designs, I particularly found myself drawn to this animation due to the amount of activity going on throughout the video. From start to finish, the motion graphic immerses the viewer into the constant change of scenery through 3D imagery and the attention to detail. From each frame, you get to notice all the little details that help animate and bring the video to life. I also have noticed that they did a great job with the lighting. From each scene, the colors are very vibrant, making it very pleasing to the eye. As a gamer myself, this definitely got my attention.

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Chris Finn

Hey! I'm Chris Finn, Creative Director / Director at Scholar.

Scholar is a studio dedicated to showcasing that "how we get there" is just as important as the finished product. We specialize in telling stories that rely on concept, live-action, & animation to defy the limits of reality. Driven by curiosity and an eagerness to engage viewers on an emotional level, Scholar's Los Angeles and New York studios blend artistry with techniques. Our goal is to forge braver, smarter content in a world in need of a voice and continue to push limits alongside our collaborative friends and brands, such as Bleacher Report to Nike, Acura, Apple, Google, Target, and beyond.

Danni

Hi! I'm Danni, Art Director at Scholar.

Tim Hayward

Hi, Tim Hayward, CG Supervisor at Scholar.

Fill us in on your Motion Design background and what led you to become a Motion Designer.

Chris

When I was in high school, I loved combining technology and art to make short films, Photoshop designs, etc. I started to create shorts that combined those two passions and naturally fell into motion graphics without knowing that term. The desire to turn that into a career led me to the Motion Media Department at the Savannah College of Art and Design (SCAD).

Danni

I began Motion Design after discovering it midway through art school and falling in love. I loved animation and the physics of motion itself, and this field gave me the opportunity to create short-form pieces that were more completely my own creative vision, which I loved vs the larger-scale corporate work in film and TV animation.

Tell us about the team behind your project.

Chris

Scholar is a collective of like-minded artists and creators who pride themselves on diving head-first into any creative challenge. Our team can shift and adapt to suit the needs of each project. For this piece, we combined the strengths of our CG and technical animation team with conceptual design artists, who often bring video game art to life. Storyboarders, designers, modelers, animators, FX artists, lighters, compositors, and more. World-building truly requires the full gamut of incredibly talented people.

How would you introduce your project to someone watching for the first time?

Chris

To introduce this exciting new game to the world, we took a unique approach to the traditional game trailer. Instead of relying on gameplay footage, we took a more cinematic and stylistic approach. Plucking each historical figure out of their typical period and casting them into an expansive world of wonder.

In essence, the trailer highlighted the core idea of the game, which is using your imagination and choice to reshape the course of history.

Take us through your process. How long did it take? What techniques did you use? What programs are you using?

Chris

For us, the process began in the early scriptwriting stages. We worked closely with the team at gnet to weed through all of the amazing in-game opportunities. From there, we worked to craft these moments into an exciting journey that would capture the essence of play.

Early stages included sketching storyboards, creating boardomatics for a sense of motion and timing, and pulling references. Danni and I first defined the worlds with visual references and mood boards, then dove into concept art paintings. These paintings focused on layout, environment, and lighting. They served as key foundational pieces that guided the look throughout the entire CG process and into finishing.

Tim

For this project, we spent just under three months in production, from the beginning of design to compositing. Most of the project was assembled and animated in Maya and ultimately rendered with Redshift. We utilized MASH when it came to the lush scattering of plant layouts and Phoenix FD for all of the volume simulations. The most challenging part for me involved the crowd setups. Putting together the motion capture library and setting up scripts to add variation, all while keeping it usable for the artist, was a big hurdle that I was glad to have solved early in the project.

The way it keeps zooming into a world within a world is really cool. Did you ever think of the Men in Black end credits when you were making it? (Which kind of does it in reverse). Why did you choose to go this way, and what were some of your inspirations for the piece?

Danni

We didn't, but that is such a classic sequence that would've been fun to reference! The client came to us with the idea of an infinite zoom, which we were very excited about. We wanted to plus it up with dynamic close-to-camera action and creative, depth-filled transitions that felt surreal. We wanted it to feel like the world was sucking the viewer in and make people curious to see what would come next.

We had some fun references for this, my favorite of which was a very surrealist Asahi spot with a similar camera but very different feel and execution.

Did you have any other ideas you liked that you didn't go with? What were they, and why did you turn away from them?

Danni

We brainstormed the transitions like crazy while ideating this spot, so not all of those ideas made it into the final, but they were all really fun exercises in creativity to stay locked in this continuous camera while making it more interesting. We had countless concepts for building depth and trippy visuals for these transitions, like zooming into a landscape from a warlord's engraved armor and feeling it pull back in depth to become real

Can you give us some of the historical figures and eras that are featured?

Chris

The historical figures were chosen from the actual game, and assets were provided by the team at Oxide Games. The spot includes Nefertiti, Irene Sarantapechaina, Harun Al-Rashid, Benjamin Franklin, Copernicus, Joan of Arc, and more! It was a blast to work with such a diverse range of historical figures, expand on their wardrobe designs, and place them into unlikely settings.

What was your favorite moment or most fun part of the project?

Chris

I enjoyed working through the concept art phase, where we truly saw the mixtures of visual references Danni and I put together quickly coming to life. It was a creatively enjoyable experience. I found it to be like throwing paint onto a canvas, loose and expressive. The cool thing about concept art is that you're solidifying that end goal and using the images as a guide throughout the rest of the project. Those designs were opened on our monitors until the last day of production.

Danni

I always love the concept art part as well - it feels the most freeing and exciting in terms of exploration when everything is still open and full of possibility. I also really loved seeing the lighting pass come together - we initially had a different idea of what level of finish we'd get to in the 3D raw renders, and planned to do a secondary stylizing process to plus them up. But they turned out so beautifully right out of the pipeline that we ended up nixing the extra pass and going straight to color and comp, which was so cool to see.

Did you face any difficulties along the way? If so, how did you overcome them?

Chris

As with any "world-building" job, the sheer number of assets needed to bring the environments to life requires a giant feat of technical management. From water fountains and monuments to hammers and wood planks and everything in between. We relied heavily on the strengths of our CG team, pipeline, and of course, spreadsheets to get us through those builds.

How do you deal with creative doubt on a project?

Danni

I think a lot of creative doubt comes from feeling stuck inside a box or losing the inspiration that got you excited in the first place. A lot of times, going into the more technical development, the initial spark of a project can get lost. I always try to go back to the inspiration I had at the beginning, whether that means looking at the references I pulled that got me most excited during lookdev, talking to someone outside of the project and seeing their fresh take on it, or watching through other inspiring pieces that I initially used as inspiration. Any way to get out of my own head and re-spark that excitement.

When you feel stuck or need inspiration, where do you find it?

Chris

There are so many amazing resources to find inspiration today. From Pinterest, to Netflix, ShotDeck and of course, Motionographer. It can be incredibly helpful, but it can also be a lot and overwhelming. So, it's all about balance. Often I run towards those creative outlets, other times I run in the opposite direction and just hope to clear my head and find the answer. Getting outside, taking a walk, and just thinking is a great way to reset and clear some of the noise.

Do you have any advice for creatives on how to pursue their dream projects?

Danni

I'd definitely recommend doing personal explorations of the exact things you'd like to do - whatever work you put out into the world will end up being what you get hired for! Making it known what gets you excited is always helpful for people looking to hire for those types of jobs. Whether that means trying out that kind of aesthetic or project on your own time, or simply expressing on your socials or website that you are interested in working on certain things, it's always nice to hear that someone's excited to work on a project if you're hiring for it, and having work in your portfolio that reflects that is 100% helpful for those looking.

Money no object; what would you love to work on most?

Chris The advancements in virtual production and Unreal are exciting, and I think there's an opportunity to apply those tools to more stylized or abstract creative work that we haven't seen yet. It looks dang good on the Mandolorian, but what else...? I'd love to work on something like that in the future.

Danni

I'd love to work on a really cool modern anime, doing wild character animation and FX. Something that has cool female characters and fun stylization, with crazy transitions. That's the stuff.

Tim I would really like the opportunity to work on a kid's show. Along the lines of "Trollhunters: Tales of Arcadia" or "PJ Masks." Stylized and colorful 3D is my favorite.

What were some ground-breaking moments in Motion Design that have shaped the way you think?

Chris The introduction of 3D into a very 2D motion graphics realm has been pretty ground-breaking. 3D now takes on so many different styles, shapes, and forms, sometimes even hidden on the surface. As a technical-minded person who loves to get my hands dirty on the computer, it's hard not to look back at some milestones for tech like the speeds of Redshift and GPU rendering, asset libraries like Quixel Megascans, KitBash, etc., and even the now popular Ai generated artwork from MidJourney. So many ground-breaking advancements happening every day, and are easily accessible to artists. It's certainly changed the way I approach design and experimentation.

What do you think we could do as a community to work together more and drive the industry forward?

Danni

I think basic respect/empathy and shared excitement/inspiration is paramount. A lot of times, we get lost in the production and forget that the people we work with are also driven, excited artists with a vision. Losing that perspective makes the project itself less successful, not to mention our human connection and artistic synergy. Respect and priorities in terms of mental health and artistic sustainability should be built into our systems as much as possible, so we can all be happier and more fulfilled while creating something we're genuinely passionate about, and have the capacity to apply our best creativity to what we're making.

What's next for you and your team?

Chris

So many exciting projects rolling through the doors over here at Scholar. It's hard not to try and jump on them all. From live-action to animation and everything in between, we're hoping to continue leveling up the work we do. Working even closer with amazing brands and folks who share a similar passion for using art to influence change.

I'm personally most enthused by live-action work with a stylistic twist or a mixed-media bash with animation sprinkled in. Finding new ways to approach live-action or flip it on its head is exciting and something I'm looking forward to doing more of.

Danni

I've loved branching out and trying all the new styles on different projects at Scholar - there's never a dull moment and always something new to try! We have such a range of skillsets and mediums here. Recently I've been getting deeper into live-action and direction, which has been a fun new experience since my background is in pure frame-by-frame animation. Between that and the exciting new cel projects, character work, and technical challenges with new clients, it's definitely going to be a fun ride whatever direction it goes.

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Chris Finn Hey! I'm Chris Finn, Creative Director / Director at Scholar. Scholar is a studio dedicated to showcasing that "how we get there" is just as important as the finished product. We specialize in telling stories that rely on concept, live-action, & animation to defy the limits of reality.

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On Motionographer.com I found myself drawn to their motion awards, and after watching many amazing animations, GENE by Tim Fox caught my eye. It follows Gene Simmons of KISS living an average day in the life.

I'm a musician myself and enjoy some KISS songs, but I have heard and read many stories about the band being rude and condescending, so I thought it was funny and quite fitting when I read the artist, Tim Fox's, description on the video, which read  "I worked on a campaign for rock legends KISS but unfortunately it never happened because Gene Simmons "hated my art". So I couldn't let the concept art go to waste."

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Even Rock Gods have to do their own laundry.

This short (and I mean SHORT) film was born out of a project that never happened. I worked on a campaign for rock legends KISS but unfortunately it never happened because Gene Simmons "hated my art". So I couldn't let the concept art go to waste.

I love irreverent comedy, anything from the Adult Swim channel and I love working in animation so this short film is me experimenting with comedy and tone within animation. The concept is Gene Simmons doing everyday mundane tasks but still in character which makes it rediculous. When you animate and study static scenes like this you realise actually things are not that still. Small details make the scenes feel alive. Things blow in the wind, sunlight flickers and people most definitely do not stand still. They sway, breathe and look around. In physical comedy, the longer the pause and more awkward it can be, the greater the pay off at the end is, whatever that may be.

With this rare moment of downtime I had the luxury of working on the fine details in all aspects of the process - the aesthetic, the keyframing, the atmosphere and in the sound design. I recorded some of the ambient sounds on location and did the vocals myself. If you are able to watch full screen have a look for all the little details, decals and messaging within in the environment. Motion capture was done using my Rokoko mocap suit. The intro and outro music is actually my band from 2001!

Animation Director: Tim Fox
Production Company: cultlovesyou
Character Design: Emmanuel Okafor

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While browsing motionographer.com, it occurs to me motion graphics are multi-disciplinary and are, well, a type of animation. I want to share a video from Björk as she frequently partners with industry leaders in art and technology. For instance, Björk worked with Autodesk to create installations at the New York MoMA back in 2015.

I chose the "Earth Intruders" video because people generally find it to be a much more palatable Björk song and video, as it expresses a timeless theme. On the technical side, the video emphasizes my thoughts on motion graphics being multi-disciplinary; the video uses techniques from 3D animation, 2D animation, cut-outs, multi-plane psychedelic liquid light shows. The video stacks and recycles the same graphics, animations, shapes, to save time in production without losing weight.

The techniques executed range from 1920s to today, but all are still relevant. While it's important to stay up to date on modern technology, there is a lot to learn from the past to influence our work and techniques today.