Beautiful backdrop of the world heritage site Mt. Fuji was used to stage the first Live performance using MIDI controlled LED flying machines, accompanied by Shamisens, the Japanese traditional guitars. This was done so by utilising more than 20 units of these flying machines, flight swarming formations, music, and 16,500 LED lights to combine into a single audio visual extravaganza. Furthermore, we are able to control the flying machines, visual and audio aspects concurrently, using the DMX512. Creative Director by TSUYOSHI TAKASHIRO Film Director by SHU SHINKAWA Director of Photography by KANEKO SATOSHI Flying Videography by DAISUKE OHKI Music by YUTAKA OYAMA, a third generation of tsugaru shamisen player of Oyama school Sound Produced By MANABU NAGAYAMA & MASAKAZU UEHATA Production Company by FPI, inc. Produced by MicroAd, Inc. We are happy to collaborate together! Contact : contact@skymagic.show Sky Magic : https://magic.microad.co.jp/skymagic/en/ Future vision : https://vimeo.com/163195837 Press Conference : https://vimeo.com/164203705 Music: https://itunes.apple.com/jp/album/sora-sky-magic-ep/id1154907440?l=en

• published: 18 Apr 2016
• views: 620699

This title sequence was the first time Pixar attempted anything 2D. I am pretty sure it was also the first time After Effects was used on a finished shot for a Pixar feature. Just two people worked on the art and animation for the entire sequence. Oscar nominee Geefwee Boedoe conceived and designed it and I did all the After Effects animation and compositing. The first version we showed was rejected by John Lasseter because it was only white lines on black, and a little too scary, Geefwee was super devastated after the rejection and was ready to give up. He thought we would have to start all over again, and did not have enough time. I was not worried though, and I explained to him how AE was made for this problem. Since all our elements were black and white, I figured that we could just use the Tint effect to colorize the entire sequence. I was right. we did not have to redraw anything. Since it was the first real title sequence for a Pixar film, Steve Jobs had to give his approval for the final shot. After he gave his thumbs up we drank champagne in the Pixar theater (against the rules!) Learning from Geefwee was a real treat and I had a blast working on it, it was like going to Disney boot camp.

• published: 22 Apr 2014
• views: 0

Client | Anthem, Inc. Studio | Wonderlust http://wonderlustmedia.ca/ Script, Creative Direction | Ryan Rumbolt Animation, Illustration | Thomas Pomarelle http://www.thomaspomarelle.com/ Sound Design | Redhorse Studio Music licensed from Audio Network

• published: 11 Apr 2015
• views: 4059