Sunday, January 30, 2011

Inspirations: A Conversation With Eran Hilleli, Winner of 2010 Vimeo Awards for Best Animation

Winner Best Animation 2010: BETWEEN BEARS by Eran Hilleli



"my graduation film at bezalel academy of art and design. a debt to my childhood and other lives i hope i lived. inspired by words of songs that i admire."

eran

TF: What is your background? Did you receive formal training as a motion graphics artist, or start out with a traditional art background, print, photography, etc?

Eran: i have just graduated from bezalel’s academy of art and design, studying in the screen based arts department. animation in particular.

TF: Can you tell us a little bit about the story behind the video? What inspired you to create this video, and what is the message you hope your audience will take away from the piece?

In your description, you state your video is "a debt to my childhood and other lives i hope i lived. inspired by words of songs that i admire." It is a very powerful statement, and I was wondering if you could tell me a little more about the meaning behind it.

Eran: During the months of vacation before my last year at school i started watching where my mind was going while thinking about my film. there were no big stories mostly places, atmospheres and feelings that swam together. i think it was related to my childhood and my fascination with some worlds i visited in my mind, in dreams and day dreams. for my graduation film i wanted to make something for me when i was a child, not really for me but to that part that was not trying to be smart or sophisticated to that part that just wanted to be there in these worlds.

what ever happen in my film was not carefully planned,

it is one journey i took and wanted to share with others.


eran

As for the songs, it was the Fleet Foxes song “White Winter Hymnal”, mixed with “The Big White Bear” from my friend daniela spector’s song and a bit of “The Devil” a Pj Harvey song. i love when a song activates my mind filling it with images, the songs i love the best are the ones which give me a vivid image without handing me one strict storyline, they open a world for me to keep exploring.

TF: How do you first approach a project, do you typically storyboard your projects out?

Eran: It really depends on the project. for my short films i try to keep it dynamic. i like diving in very soon. trying to realize my vision or thought before even knowing where its all going, this way the visual aspect/style of the film takes part in inventing the story. so i use storyboards but usually dont complete them and dont swear by them.


eran

TF: Your work has a flat, very geometric 2D look to it, although it looks like it was manipulated in a 3D program. What is your process for creating this style? What software or plug-ins do you use on a regular basis?

Eran: in between bears, most of the characters were modeled in 3d, everything else was a mix of 2d and 3d.

this was the first film i used 3d. the characters were all lowpoly and rendered with two shades for each color. blown away with the endless possibilities of 3d-world, i had to put a few rules to keep things simple and in coherence with the 2d world.

these days, for animation i use maya and c4d which i really like, after effects with all the lovely trapcode plugins and colorista, final cut for editing. photoshop, flash and illustrator.

for vj’ing i like vdmx and interactive with processing or max/msp.

TF: Was the music composed specifically for this work? Did the music then influence the work in any way as you created the video, or perhaps the other way around?

Eran: Yes. the music was composed specifically for this film by my dear friend Ori Avni. the music was finished near the end of the work on the film. it was a mix, an intertwine between the music’s progression and the film’s. both influencing each other.


eran

TF: Can you explain your use of color? It looks like you have a very structured use of color in your work, and an established color pallet you are using. It is why I am wondering if you had a background in print design or traditional art, as it looks like any individual frame from your video could easily stand on its own.

Eran: At school i was taught an introductory class to color by Marek Yanai wich is a painter / magician who has opened my mind and influenced me dearly. as he would say,its all about the relationship between colors.


eran

i cant say much about my methodology, i am quite young in this field, but really really love exploring uses of color, this is one of my favourite parts of film making.

TF: Any future work we should be keeping an eye out for? How has exposure through the Vimeo contest affected you?

Eran: Definitely! always working on something.

the vimeo contest was a great experience. i was very surprised and happy. even though i couldn't be there, just from the exposure, i have met many artists and film makers who i would love to collaborate with someday.

Thank you Eran for taking the time out for this interview!

cheers

You can follow Eran at: eranhilleli.com


eran

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Monday, January 24, 2011

Inspirations: PERSPECTIVE LYRIQUE Singing Buildings by 1024 Architecture

PERSPECTIVE LYRIQUE from 1024 on Vimeo.

We've all seen creative building projections, but this one has a twist: the ability for the public to interact and make the buildings "sing".

"A mapping by 1024 Architecture, projected on the facade of former Lyrical theater the "Celestins". The building deformations and figures were controlled by the audience, using a microphone and an audio analysis algorythm."


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Inspirations: Quantum of Solace: Main Title Sequence Reel by MK12/ Interview by Art of The Title


Art of The Title Sequence posted an excellent, detailed interview today of MK12 and their creation of the title sequence for Quantum of Solace.

Check it out: http://www.artofthetitle.com/2011/01/24/quantum-of-solace/
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Sunday, January 23, 2011

Over Me 3canal 2011

One of our customers asked what the best way to recreate this type of animation. I told him with Zaxwerks Layer Tools or Red Giant PlaneSpace.

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Thursday, January 20, 2011

Inspirations: "The Immigrant" by Ashley Rodholm

The Immigrant from Ashley Rodholm on Vimeo.


(Via @alba on Twitter)
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Wednesday, January 19, 2011

Inspirations: Why Can't We Walk Straight? by Benjamin Arthur

A Mystery: Why Can't We Walk Straight? from NPR on Vimeo.



Very nicely done animation/style.

"Try as you might, you can't walk in a straight line without a visible guide point, like the Sun or a star. You might think you're walking straight, but as NPR's Robert Krulwich reports, a map of your route would reveal you are doomed to walk in circles. "

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Wednesday, January 12, 2011

Inspirations: Typography

Typography from Ronnie Bruce on Vimeo.



Typography done well. The message, too.

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Monday, January 10, 2011

Inspirations: Baroque Art Transforms Into Digital Paintings, Thanks to Software (via fastcodesign)

Topologies (Excerpt) - Velazquez from Quayola on Vimeo.

"Quayola takes images of famous Baroque paintings, and, using custom software, virtually chops them into abstract shapes that look like faceted rock. Then, he turns the shapes into dancing, drifting, dream-like video. Elevator pitch: Picasso meets the Nome King, directed by Michel Gondry."

Read the full article at fastcodesign.com

Quayola on Vimeo

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Tuesday, January 04, 2011

Inspirations: Revisiting Alice in Wonderland at Animation World Network

"As the Oscar race for VFX heats up, Bill Desowitz from Animation World Network reports back with a second look at Alice in Wonderland."

alice in wonderland

AWNtv :: Trailers, clips and featurettes from Tim Burton's "Alice in Wonderland."

"Sony Pictures Imageworks threw a tea party last week for Alice in Wonderland, lest Oscar voters at large forget the studio's substantial work on the Tim Burton blockbuster that opened in March. Journalists were treated to individual sessions in an editing bay with treats and plenty of highlights showcasing the abundant CG characters and synthetic environments, which have always been Sony's signature trademark. Even so, the hybrid film clearly represents the studio's most ambitious achievement to date. With more than 1,700 shots and 35 characters from Sony (out of a total of 2,300), Alice offers a new synthesis of CG techniques. The interactive display, in fact, was the brainchild of Ronni Chasen, the veteran publicist that was brutally murdered late last month."

Read the Full Story and see Alice in Wonderland VFX Breakdowns at Animation World Network

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Monday, January 03, 2011

"The Deep" New stop-motion short by PES

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