When Brian set out to put our new render engine through its paces, we didn’t know he would take us deep into the mountains on a 4×4 access road. We’re always on the lookout for tools that enhance (read: speed up) our workflow and we’ve had our eyes on these bits for quite a while. Enter Quixel and Redshift.
Brian tapped into the Quixel Megascans library of nature assets (see the vegetation, rocks, trees etc) and combo’ed that with Quixel Suite 2 which allows for really detailed (and crazy fast) texturing tools via Photoshop.
After our friend Dave Owen from Bend Reality Studios did the vehicle modeling, Brian was able to texture, light and render the animations and stills. Using Redshift as the rendering engine, we only needed one computer for all the renders and each frame only took around 6 minutes. Brian then turned it over to Andy for a quick edit and Steve layered in audio. Swing by the Portfolio to see the stills in the high resolution they deserve.
We wanted to take a quick minute to send major kudos Greg’s way for being selected and featured in the 2018/19 Lürzer’s Archive Best 200 Ad Photographers worldwide. Lürzur’s Archive has been publishing the 200 Best books since 2004 in multiple disciplines. A jury specially convened for each volume selects from the work submitted the items they consider to be the best.
The jury selected two images from Greg’s classical cocktails series and a third from his Black White Blue food series.
Grab a copy of the book to check out his feature and see more great work from other industry leaders. CONGRATS Greg!
We’re a house full of creatives and love when our people make cool stuff. Megan’s it again and this time it’s inside terminal 2 at STL’s Lambert International Airport:
Install in progress, not looking too shabby at 4am after 6+ hours…
St. Louis artist Megan Singleton created “Ebb and Flow IV” at Carousel 2. Her work interprets USDA geospatial data of the Lower Missouri River watershed, which encompasses the area near the Airport. Singleton used pulp paper to mimic the lines of the watershed, which creates a dynamic relief along the wall. The opposite wall displays a series of botanical drawings of native Missouri aquatic plants. The drawings were laser cut from handmade paper, made from the very plants that the cut out drawings depict.
There’s a write-up on flystl.com with more info on the other artwork you’ll find there as well.
The next time you’re coming or going to the area via Southwest swing by baggage claim and take a look. Heck, even if you’re not in Terminal 2, plan ahead and take the bus over. The work was installed this past November and will be up for 18 months.
Jump over this this previous post to see some more of Megan’s work:
Shoutout: Resident Artist Megan Singleton
Let’s charge right into the week with a new piece we’ve been quietly working on in-between client work. This is a small personal project from Brian and his team that blends footage from our Red Epic-W and animation from Maya. Compositing was done in Nuke and rendered out with V-Ray.
Be careful out there folks.
Here’s a peak into the process:
Director: Tim Wilson
DP: James McKenzie
AD: Dustin Carter
AC: Mike Dalton
Camera tracking, texturing, lighitng, compositing: Brian Ellebracht
Sound Design: Steve Horne
Editor: Lucas Harger
We’re pumped to officially introduce Brian Ellebracht and our new 3D & CGI showreel. Brian is a St. Louis native that bounced around the country working at small boutique Post Houses like DreamWorks over the last decade and a half before looking to come back to STL. When we heard he was looking for a job locally, we had to have him come by for an interview. We were not only impressed with his work (projects like Shrek and DOOM, what!) but also when we met him we found out he was just a really cool dude.
Brian will be leading the troops on projects requiring visual effects, animation, compositing, VR, set extensions, full CG scenes (or blending with live action) and even 3D printed assets. If he’s not locked up in his office banging out renders like a madman, you’ll probably find him over in the coffee shop perfecting his pour over technique.
So for now sit back, relax, grab a cup of joe and enjoy.
Hey everyone! We’re proud to present our motion production and post reel. A huge THANK YOU goes out to all of our clients and friends – without your great concepts, vision and collaboration, none of this would be possible. Get comfy and enjoy!
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We’re really excited to introduce “Spring is like a Perhaps Hand,” the first installment of a new project called the Dead Poets Series – short films about drinks and food inspired by poetry.
Brace yourself: This isn’t your goat-boy-galloping-down-the-lane-piping-a-piccolo-and-waking-the-daffodils video. Following the rhythm of E.E. Cummings’ “Spring is like a perhaps hand,” this short piece is a dark, creepy cocktail creation with allusions to a leather-booked study setting. The project is marked with interesting camera angles, fixed rigs, and sharp sound design. Put on your Vincent Price lenses and enjoy.
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Using a limited color palette, Greg Stroube created 6 new stills for his series of ‘Black, White, and Blue Foods.’ It’s a cool challenge, considering how unusual these colors are in the culinary context.
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We recently teamed up with the crew at Checkmark for a fully integrated production resulting in multiple spots and a library of candid editorial stills for Just Right by Purina. The idea behind the campaign was to meet with 3 groups of real customers that use Just Right for their dogs, giving them the chance to share their stories about why they use this personalized food for their pets. Basically: living, breathing (panting) testimonials.
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