Un superbe court-métrage français d’une durée de 13 minutes, dirigé par Jeremy Clapin. Ce film d’animation date de 2008 et présente l’histoire d’Henri frappé par une métérorité de 150 tonnes. Produit par Dark Prince, il est à découvrir dans son intégralité dans la suite de l’article.
Une collaboration et un travail entre 2 artistes vidéos : Alasdair Brotherston et Jock Mooney autour de ce court film créé pour le groupe Tom Fun Orchestra. A découvrir dans la suite.
A visit to Bajibot’s website is like going into another world. It is so rich with visuals and 3D animation that it’s almost like a video game… you just keep wanting more. I connected with New Business Director Martin Fernando and he put me in touch with Vince Mei, founder of Bajibot. Due to their hectic schedule, I sent my interview questions to them via email. The response came back in half a day, so thank you Martin and Vince for your time — I know you guys are busy.
Bajibot is a web-design company that specializes in 3D animation. I became interested in Bajibot because of its partner list, which not only consists of other agencies such as TribalDDB, BBDO Atmosphere and Digitas, but also includes clients like Pepsi, Nike, Philips, HSBC, Novartis and the NFL.
I thought, “Holy Crap! Look at the brands supported by this company,” and knew that there was something special hidden just below the surface. Following is an excerpt of our interview:
Tell us a bit about the history behind Bajibot. What is (a) Bajibot?
Bajibot Media was founded by myself and a partner in 2006, we came up with the name Bajibot from our screen names, I am known as the “Bajiking” and my friend’s name was “Dxxbot” so we combined our names and came up with “Baji-Bot”. My partner friend decided to take advantage of a real nice offer at an agency so I started Bajibot on my own.
Bajibot’s first project was a huge banner campaign for Nike+ through R/GA, and projects started to roll in. After a month of working from my apartment my wife kicked me and my assistant out and with a budget of $5,000 I rented a small 100 square foot office near Rockefeller Center, and that was Bajibot’s first official location. For three years we’ve continued to grow, working almost exclusively with global agencies in New York, delivering the best digital content for the web.
What makes Bajibot unique?
Technically speaking we are a web design shop equipped with heavy duty 3D capability. I studied 3D animation in college but my 10 year career had been in the Interactive field, and so combining these skills created a niche of providing broadcast quality 3D content that works on the web. By knowing the limitations and possibilities of the web and Flash, our clients value us because we provide smooth integration of our work into their Flash projects. Our clients often come to us for fresh creative ideas from a 3D perspective to add value to their interactive projects.
We like our clients to think of us as their “in-house” power team instead of an “outsource vendor.” We try to keep our shop at a compact size to maintain direct communication and because of our expertise we have the capacity to take on larger tasks. We offer a single point of contact with our clients – our producer or myself – so the client’s messages get to our artists fast and clearly. Plus the advantage of being in NYC is that we are always on call to go to our client’s office for face to face meetings.
We have a super laid back, friendly working environment, and that’s the secret of how we keep our creative juices flowing. My dog Baji often visits our office and Baji helps to nurture that environment, too.
What is the most outrageous site that you’ve worked on?
There are many, but without a doubt the Intel Rich Media Banner Campaign project from MRM would be at the top of the list. In just 4 weeks we produced a serious of 6 super rich media ads that feature stunning 3D and interactivity inside those banners, and the special thing about the project was that it was the turning point of Bajibot. Many thanks to Duncan Mitchell, MRM’s Creative Director, who worked with us on the project and gave us enough trust, creative freedom, and a generous budget!
Advertising has changed a lot over the past year. How has Bajibot changed to meet these challenges?
The advertising industry is definitely changed quite a bit over the past year, primarily in budget. Clients are asking for more and better work done with less budget. But Bajibot’s business model has always been designed for this kind of demand. We’ve always stayed on top of the trends and technology to offer the latest “cool” things to do. We’ve always kept a reasonable and affordable rate card, and we’ve always been super flexible with time with many examples of “mission-impossible” successes.
How would you describe Bajibot in three words?
Flexibility – Creativity – Execution
Three words that have refined — and continue to refine — the creative products that Bajibot provides its partners. Bajibot exemplifies a shop that’s ahead of the curve, way ahead. View its 2009 media reel and you’ll see what I mean.
Jeff Louis: Media Planner, Brand Project Manager, blogger, aspiring writer. Please leave a comment, or reach out to him on Twitter or LinkedIn. As always, thanks for reading.
Très beau showreel pour l’agence de communication française I-Reel située à Paris. Spécialiste à la fois de la création et du développement de films, d’images de synthèse, de sites internets et d’outils multimédias. Un travail à découvrir en vidéo dans la suite.
Un court métrage 3D réalisé à l’école Supinfocom Arles en 2008 par Clément Crocq, Margaux Durand-Rival et Nicolas Novali.Il raconte l’inattendue rencontre entre un pilote de l’aéropostale survolant le Pérou, et un enfant y vivant avec son lama.
Plus d’informations sur le film
Le contenu de cette installation lumineuse est basé sur des notions de chromothérapie. Une lumière bienfaisante est diffusée sur ce support LED de 6,65 m2. D’une durée d’environ 2 minutes, le tout est présenté sous forme d’un enchaînement de plages d’animations lumineuses.
Un document visuel hypnotique pour le dernier clip du groupe Fleet Foxes, dirigée et animée par Sean Pecknold avec des oeuvres et des illustrations de Jesse Brown. Produit par Grandchildren. Clip vidéo en HD et making-of dans la suite.
Clip vidéo
Making-of
La marque Onitsuka Tiger s’apprête à lancer une nouvelle campagne mondiale afin de célébrer son 60e anniversaire. Produite par l’agence de communication Amsterdam Worlwide, autour de la collection printemps-été 2009 et sur deux supports : affiche et film d’animation.
It may be short at just eight-minutes but it was enough to cop an award. Nexus’ “This Way Up”, a short film directed by Adam Foulkes and Alan Smith at London based animation studio Nexus.
The humorous eight-minute film follows two dour undertakers as they battle a series of misadventures while trying to deliver a coffin to the graveyard.
“At Nexus we’ve always been committed to short film animation, so it’s fantastic to be honored with the nomination in this category,” says O’Reilly. “But more than just being singled out by the Academy, the Oscar(R) nomination is important to us because it’s a stepping stone for us to develop feature length animation.”
(Source) PR Newswire
Absolut is bringing one of their print ads to life in the newest spot from TBWA, titled, “Dissection.” The original print ad featured an exploding glass that reveal the vodka within. In the spot, TBWA takes it to the next level with the Absolut bottle itself exploding in slow-mo and the liquid inside staying in the quintessential shape. According to AdWeek, the vodka was actually shot in slow frames and minimal (20% or less) was CGI animation. I enjoy the ending where the pieces assemble themselves back together for the end tagline, “In an Absolut World.” Check out the ad for yourself below… what do you think?
Technorati Tags: Absolut, vodka, liquor, advertising, marketing, CGI, animation, commercials, TBWA
This spot (by Saatchi, Moscow) introducing Russia to Gmail is certainly an orchestration of simplicity and visual presentation, impressive in it’s own right. I’m more interested, however, in the fact that the stop-motion bare bones style was used. Especially for something as digital as Gmail. Does it make it more human to have people entering the search terms and starring your messages? Does it become more personal and more accessible? I’d like to think there is a specific and logical reason behind it, and not just someone wanting to do some cool stop motion construction. Either way, it’s an impressive execution that’s fun to watch.
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