Features | |
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Last Airbender |
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Grey's Anatomy Promo VFX |
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Interview with Bobby Chiu |
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License to dream |
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Focus : Gears Of War 3 |
News Headlines | |
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Dragon Age 2 |
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Bioshock Infinite |
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Time travellers Comic |
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Envirometer |
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Thelma and Louise Remake |
Other Features | |
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Interview With Nick Harris |
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Making Art for Ipad |
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Making VFX for Ben Hur Remake |
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Interview : Mike winkelmann |
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Baby Data |
IT'S ART : The Gum Thief campaign has been awarded by the Bessies and I guess it's been a great honour. Does it has changed the client perception of your company?
CRUSH : The pieces also won bronze at the One Show, and were finalists at Annecy and Cannes. The Bessies were huge for us because a non agency won for non traditional media. Up until that point the industry saw us as a service house. Again, it gave us a chance to demonstrate our ability to essentially “do it all” from start to finish.
IT'S ART : Then comes the R.E.M. adventure. Can you tell me about the first video you created for R.E.M.?
CRUSH : The R.E.M. journey was a direct result of the Coupland work. Michael is a good friend of Doug’s. As the band was recording Accelerate, their approach they were taking was very much “back to the beginning”. They were letting their audience become part of the process, workshopping the material live during the recording, creating a video diary with Vincent Moon, allowing fans to cut their own films, Michael loved the aesthetic of the Coupland stuff, the rawness of it. He contacted us in February about doing the video.
IT'S ART : Did you work directly with Michael Stipe or/and other members of the band?
CRUSH : We dealt with him directly, which was unbelievable. The work was mostly done remotely for both Hollow Man and Man-Sized Wreath.
IT'S ART : I guess it was a very complex creative process and that the exchange of ideas between Crush and R.E.M. has been intense. Can you give us an idea of the creative process?
CRUSH : It was as complicated as Stefan Woronko (a Crush creative director) and I sitting at Michael’s kitchen table each of us with our laptops, talking about things we liked, the idea behind the lyrics and looking at things they had been into while in the studio. We went off, started fleshing the ideas out and then talking back and forth while the band began their press tour. Very fluid and off the cuff.
IT'S ART : You've made a second video, Man-Sized Wreath for the same band. Can you explain what are the differences (technique used / process / pipeline) between these two works?
CRUSH : There were a few differences. Technically, we used more CG, more motion tracking, and more designers. The live action was a bigger component this time. There was a more overt message in this one, the song itself being more pointedly political. We wanted to bring layers of meaning to it, and we (Michael and Crush) wanted it to feel like it was the next step, that it was an evolution of the work we started on Hollow Man
IT'S ART : Did Michael Stipe and or the band wanted something more specific this time?
CRUSH : The clips have to work in all kinds of contexts, but the live experience was a big part of it. The videos are incorporated into the tour, so they need to add something to the experience. In fact, Man Sized Wreath was added as a work in progress three days after Michael came in to see the first rough cut.
