The last time Motion Designer Jon Lutjens collaborated with
Director Anthony Gaddis they were part of the team who made Mac Miller’s posthumous Good News video.
COVID-19 forced the world into lockdown last year, and that changed the way people work. Handshakes are out, facemasks are in, and many in-person meetings have been replaced by Zoom conferences. Even as some head back into the office, Zoom’s gridwork of postage-stamp-sized avatars of friends and colleagues remains a big part of a lot of people’s workdays.
There aren’t a lot of artists with a credits list like Emmy Award-winning Art Director Steven Messing’s. Over his long career, Messing has contributed to more than 50 film and television projects, including Avatar sequels, Avengers, Alien Covenant, Transformers, Game of Thrones and Stranger Things.
Madis Epler worked as a graphic designer for several years before realizing he was really more into animation. So he pursued that goal, digging deep into tutorials, books and everything related to 3D. Now a busy freelance creative director, animator and CGI artist, Epler runs his own studio, Banzai Animation, in Estonia where he grew up.
When COVID-19 shut down live-action production last year, unforeseen opportunities opened up for many 3D artists, including Los Angeles-based motion designer Jan Sladecko
New York City-based director Saad Moosajee has always found Renaissance art interesting because “it evokes God and seems to have a holy quality whether there are literally angels or just dark, moody figures,” he explains. Even so, it’s an aesthetic he hasn’t found much use for until recently, when Japanese singer-songwriter, Joji, contacted him about directing a music video for “777”, a track from the artist’s latest album, Nectar.
Freelance art director/motion designer Takayuki Sato is currently living in Japan, where he was born and got his start in the industry. But his career was meaningfully shaped years earlier when he moved to the US to study motion graphics and English.
Jayse Hansen remembers exactly where he was when he realized what he wanted to focus on as an artist. It was 2005 and he was at a design conference listening to fictional user interface (FUI) pioneer Mark Coleran describe how he created FUI for films like Mission Impossible, Alien vs. Predator and The Bourne Identity. Watching intently as Coleran presented his screen designs for mini spy cameras, holo tables and FBI forensic labs, he thought: “That has to be the best job ever.” Though he knew nothing about how to get started, he knew he wanted in.
Toronto-based director/animator Nick DenBoer has been collaborating with electronic music producer and musician Joel Zimmerman (aka Deadmau5) for years. It’s an odd pairing in some ways—Deadmau5 (pronounced dead mouse) is internationally recognized for his original, well-engineered sound and straight-talking demeanor. DenBoer (aka Smearballs) is known for being uniquely talented at making super weird stuff, including some surreal branding for KFC.
TV series titles don’t usually need updating from season to season. But with the hosts leaving the theme park to head out into the real world in Westworld’s season 3, the time was right to make a change. Asking the question, “What would it look like for a machine to look back on the world of Westworld’s first two seasons, Antibody collaborated with AI Fiction to create “machine dreams” for the title sequence, which explores what the characters go through as they struggle with their new freedom.