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The crew here at Fates fancies ourselves amateur futurists, so it's always a treat to work with top caliber futurists like Grey Scott. Seth Melnick from About.com came to us to develop a look to fit the new Norton by Symantec series "The Internet of Things". It explores forward thinking technologies that will impact our lives. Rethinking wearable tech yet? Let Grey Scott guide you!
Once again we're premiering a film at San Deigo Comic Con. Our film, PostHuman, is set in an adrenalized future of espionage, assassins, and out of control super-science, PostHuman follows a genius hacker and his dog as they help an enigmatic young woman free the remaining test subject of a black ops ESP test lab. Fully animated in-house here at Fates.
UPDATE: What a ride ya'll. SDCC was epic. We will have to update on the events. Thanks to the droves of fans that came out to the screening. Hope our panel wasn't too late night. Watch the full teaser below:
We've been very busy the past couple quarters working on series development for several of our network clients. We'd like to give a special thanks to our two biggest network clients AMC and itv Studios. We wish we could show all of the fun pre-ivs work we've done this year, but we'll just have to wait until the shows air.
We're also proud to announce our involvement in the pre-visualization, pre-production, and actual production of the new itv series, The Trouble with Katie Rogers. Created by our good mate Des Taylor, the series follows the adventures of sassy, stylish NYC publicist Katie Rogers as she navigates the complex waters of media publicity and a complicated love life. It’s never a dull moment as she deals with celebrity clients, fashion divas and the men in her life!
If you're at NYCC this year stop by the Madefire booth @ 1658 to meet us, Des, and get a copy of the complete graphic novel, soon to be an animated series!
This time we'll let the critics speak for us:
From i09: Eureka's Christmas special took the show into the realm of animation, with incredible results. The episode was a minor masterpiece, a thrill ride that was equal parts exciting, emotional, and hilarious.
While last year's special, "O Little Town", was maybe a little too obsessed with Christmas for its own good, "Do You See What I See" is all about making the most of the show's new animated format, and it does not disappoint. The initial computer animation sequence is mostly just there to serve as a transition between the live-action and what's to come, but everything that follows is pretty much one big triumph.
The very next sequence, in which they turn into old-school, 60-style animated characters, fully embraces the format, complete with four-fingered hands, cartoon physics, and anthropomorphic everything, including Carter's long-suffering jeep - voiced quite excellently byThe Big Bang Theory's Jim Parsons.
The big climax takes us into anime territory, as Carter, Jo, and their now flying jeep (which I can only assume is called C.A.R.L.) take on a gigantic ninja snowman who is terrorizing the town. The sequence is played much more straight than Futurama's recent takedown of Japanese animation, but there's still plenty of shout-outs and homages, and you can tell everyone involved had a blast making it.
Here is a rare behind the scenes Work In Progress edit that shows the stages and process we go through to make cartoon magic:
We were really busy trying to wrangle the work we had leading up to the big game. For Super Bowl XLVIII we had no less than three campaigns we were fortunate to work on. We had the biggest part in the Newcastle 'No Bollocks' campaign under Droga5's brilliant direction.Their creative called for storyboards to be the final visuals for all the commercials, part of the #ifwemadeit concept. This is perhaps the funniest work we have been enabled to do in years. Anna Kendrick also 'guest-starred' in a few of our animatics... and we're still not sure how that worked.
We also did the pre-production & 'boards for the Mars M&M's superbowl spot under the direction of BBDO. This commercial just has a great buildup and fantastic pay-off. Don't blink or you'll miss the easter egg... Selena Gomez is the mafioso's gun moll:
And to complete the trifecta we had a small part to play in Mu//en's campaign for Seinfeld's Comedians in Cars Getting Coffee, which you can see if you just scroll down. It was a busy season and we look forward to completing your challenge next. Give us a ring today!
Um, wow... this was an absolute honor to work on this campaign for the fine people at Mu//en. So much awesome packed into one job. If you haven't seen Jerry Seinfeld's new digital series Comedians in Cars Getting Coffee yet, start there. As you can see, it is blatantly Acura branded but in a way that only Seinfeld & gang could get away with. We were brought on to match the style and branding of the CICGC series and create a launch animation for the brand spanking new Acura NSX supercar. Not only that, but we were to make it such a way that each frame of the 'flipbook' style animation would be tweeted on the Acura Twiter so as you scroll down, you control the frame rate of the animation. Once you get the page scrolling fast enough you'll reach persistence of vision and see the NSX rip around and then, hand you a free coffee. In fact, as part of the promotional campaign lucky re-tweeters got a free Starbucks coffee: #NSXCoffeeRun
He's a spot we made that had a built in audience of just 169 million viewers. It's part of a campaign we made promoting the merging two powerful platforms with the 145 million users of Tango and 24 million users from Spotify. The partnership marks the first time Spotify has been integrated into a platform like Tango’s, creating the first mobile messaging app to blend communication, social features and music. The partnership with Spotify adds an amazing catalog of music to the many ways in which Tango’s users can express themselves through messaging.
This is the launch teaser for the campaign with we developed with David Oh from the new digital agency SHEEP. In fact we left his scratch audio on our edit here just for fun. More sexy dancing animations coming soon!
We were proud to be a part of the first PS4 commercial ever made. Sony's gaming brand is worldwide phenomenon, and the new console launch has been 7 years in the making. This is an epic moment for gamers. So the launch commercial had to be EPIC. Here is a quick 2.5D animatic built from our production storyboards working with BBH creative director Nate Able.
The Greatness Awaits campaign was developed at BBH, New York, by chief creative officer John Patroulis, executive creative director Ari Weiss, creative director Nate Able, copywriter Rick Herrera, head of integrated production Justin Booth-Clibborn, senior producer Jennifer Moore Bell, production assistant AJ Gutierrez, head of account management Armando Turco, account director Melissa Hill, account manager Georgie Gooley and account coordinator Marshal Kerns.
Filming was shot by director Rupert Sanders via MJZ with director of photography Greig Fraser, president David Zander, executive producer Kate Leahy, producer Laurie Boccaccio, production supervisor Adriana Cebada Mora, production designer Dominic Watkins and costume designer Mayes Rubeo, working with producer Jose Ludlow at Kinema Films in Mexico.
Editor was Neil Smith at Work Post, New York, with executive producer Erica Thompson and assistant editor Healy Snow.
Visual effects and finishing were produced at The Mill, New York, by executive producer Jo Arghiris, senior VFX producer Charlotte Arnold, VFX supervisor Iwan Zwarts, VFX supervisor Rob Petrie, assistant producer Juan Handal, colour producer Heath Raymond, colourist Fergus McCall, 2D lead compositor Iwan Zwarts, 2D compositing artists Kyle Cody, Dan DiFelice, additional artists Danny Morris, John Mangia, Ilia Mokhtareizadeh, Greg Spencer, Dan Giraldo, 2D Conforms and Cut-downs artist Jade Kim, 3D lead artists Rob Petrie and Joji Tsuruga, 3D lead lighter Olivier Mitonneau, 3D animators Jeff Lopez, Alex Allain and Tyler Hurd, 3D artists Olivier Varteressian, Per Bergsten, Ivan Luque Cueller, Billy Dangyoon Jang, Boris Ustaev, Hassan Taimur, Ruben Vandebroek, Tim Kim, 3D Massive team Wyattt Savarese, Ed Hicks, Hassan Tuimir, 3D FX team Nick Couret, Ian Baxter, Phil Mayer, Cedrick Grousse, matte painter Can Y. Sanalan, title designer Mario Stipinovich, Tetsuro Mise and Eugene Kolb.
LIDAR services were provided by Travis Reinke at Scanable. Rotoscoping was provided by Trace VFX.
Sound was designed by Brian Emrich at Trinitite Studios and mixed at Sound Lounge by Tom Jucarone. Music was produced at Woodwork Music by Andrew Oswarek with composer Phil Kay.