Lobo.cx’s Post

Check out this teaser for this beautiful short I had the privilege to work for!!

Final Client: Oysho We created a mixed media campaign, filming and post-producing the piece. During post-production, we used 3D VFX sand to make the visuals dynamic and avoid a static look. The sand served as a narrative thread, guiding us through various exercises and highlighting the texture of the leggings. The fabric is cut with a laser for a clean finish, so we had to understand how different laser cutting machines work to emulate their real-life operation. The campaign has been published on their website, in-store, and online on their social media channels. Our goal was to showcase the new product. As a creative studio, we identified the need to highlight the laser-cut detail, elasticity, and durability. The rocks illustrated the product's durability, while the movements emphasized its elasticity. We aimed to bring to life an element that exists for its function. Over the next few days, we'll be sharing content about the process <3 Brand - Oysho Creative Director - ANDREI WARREN PERKOVIC Production Supervisor - Ernest M. Project Manager - Lucía Ansótegui Look Dev. Supervisor - Iván Moreno VFX & Comp - Enric Jordà 3D Model & Texture - Raquel Abad Bravo Storyboard & Concept - Anaïs Cerezal Pacho Rigging & 3D Animation - Angels Reluz Panés Camera Tracking - Adrià Ruiz C. Clean Plate - Alexander I. 1st AC: Violeta Silva Violeta Silva Steadycam: Ricard Haro Producer - Eva Monge Araus DOP - Alex Font Hair & makeup - Tina Monzón Talent Genevie Vechenneour

Blurring the lines between fiction and reality, we have created the Etxart Panno garden where each look coexists with the flora. As a creative studio, for most of the projects in which we integrate 3D, we need to do research: how tall is a streetlamp, or how a spoon would fall from a table. We want to share with you the 360º view of our flowers for ETXART PANNO and some questions that we asked ourselves. Additionally, some of the references that characterize us as a studio: to develop this project, we used references from the withered flower in Kimetsu no Yaiba, from Akira Kurosawa’s Dreams, and from Hibana in Fire Force. This combination has given us an incredibly cool result. We hope you like it. XX Brand - ETXART PANNO Brand Creative Director - Carola Etxart Panno Produced by - Misato Kindness Creative Director - ANDREI WARREN PERKOVIC Production Supervisor - Ernest M. Project Manager - Angels Reluz Panés Look Dev. Supervisor - Iván Moreno Compositing - Carlos del Rincón 3D Artist - Victor Pérez Gámez Storyboard & Concept - Anaïs Cerezal Pacho Unreal Artist - Genís Suriol VFX Artist - Santiago Mariño VFX Artist - Daniel Arenas Eguiazabal

The importance of drawing and building skills in this towards animation and film.

Blueprints for New Filmmakers Part 2: ARTISTIC CRAFTSMANSHIP In the video, I've uploaded for you, for "Coraline," you will see short scenes, concept art, storyboards, and more that showcases the "Artistic Craftsmanship" required just in animation alone. You can gather many things from watching the video but ultimately all you can really say is, "HOW THE F*** DID THEY DO THAT?" and/or "Incredible!!!" in 50 different languages. EACH FRAME... when done right, feels like a small masterpiece, and should contribute to the fluid and engaging story the audience sees on screen or at home. The incredible high level dedication to detail and the process of each frame highlights the true artistry behind animation. Let's breakdown how it was most likely done and hopefully I can give you a better understanding of what goes into creating an animated feature, show, or short. First off... It all starts with rough sketches. These STORYBOARDS are the visual script, mapping out the key actions and transitions. Think of it as the blueprint for the entire animation. In the video somewhere halfway you can see the concept art. After a while characters start to come to life from simple drawings. Which leads to... THE CHARACTER DESIGNS which isn't just about drawing; it's about giving the characters personalities and making sure they can express emotions. A severe amount of thought goes into how they'll look from different angles and how they'll move. The Artists involved here are top-notch folks great in their field. Next... You'd create KEY POSES—these are the major points of action. For example, if a character jumps, You'd draw the start, the peak, and the landing. Animators call them keyframes which are the skeleton of the animation. Then comes... The difficult IN-BETWEENING. This is where real Artistic Craftsmanship shines. You'll fill in the frames between the key poses to make the movement smooth. This is where your 24 FPS really shows how meticulous your work is. Now... You add layers of texture and lighting to bring depth and realism. This part turns your flat drawings into lifelike characters and settings. It's like adding the finishing touches to a painting, giving it mood and atmosphere. I hope I haven't lost you yet. As all the pieces come together, you come to RENDERING AND COMPOSITING stage. You and your artists combine it all into a seamless scene. Several people make sure everything fits perfectly. Finally... You'll go through your animation with a fine-tooth comb. You look for any issues and make adjustment after adjustment. This final step can and WILL involve a lot of tweaking and reworking, but it's worth it to get every detail just right. Artistic Craftmanship is a labor of love and your final product will, hopefully, be magical if done right with the right people who want to truly being your vision to life. Hope you enjoyed this! Please like, share with people who would love to learn more. Thanks

🌽 It has the juice...in more ways than one🔋😏 For those of you who don't work on video content often, an animatic is like the blueprint for a house that is being built. It is absolutely crucial in the conceptual and storytelling phases to ensure everyone is on board with the content and the story works well. Whenever I work with Epipheo, I always receive thoughtfully crafted animatics that lay out the video in great detail. This framework allows us to make all of the decisions to frame the house, put in all the fixtures, and do all of the beautiful finishing. Sometimes that house looks like a big lump with knobs 🤷♂️, but I've never seen a more beautiful thing 😅 Video Producer: Epipheo Art Director: Bitsy Voce 3D Character Design / Animation: Joey Judkins 3D Modeling, Texturing, Lighting: Joey Judkins, Chris Long Style Exploration: Chris Long

1987 - colored pencils, 3-panel storyboard concept-pitch for backlit 35mm film motion-graphics animation. (Film!, nothing else like it, really.) From when I ran a computer-contolled animation stand, creating "idents" and "bumpers" for television stations, specialty venues, etc. Despite a fully descriptive existing demo-reel, clients and potential-clients would always want to see a fully animated pitch before deciding whether to pay for their fully animated spot...! (Clients!!!) We were too small of a company to do this, no company should do this. I began to develop short 3-panel, colorful storyboards, from which the company "president" and the sales people (same person...) could relatively quickly show a client what we were thinking could be done on their budget. This was during the heyday apotheosis of backlit film motion-graphics, seemingly mere minutes before rendered CG swept across the landscapes of our lives. We'd get 2D artwork from the client, digitize the logo by hand-plotting points around the shape (including the voids and holes in letters, etc.), extrude and bevel (always a damn BEVEL!), animate a wire-frame "flying-logo" move around the logo, print each frame onto PLOTTER paper, peg-bar punch each sheet of the plotter paper for the animation stand, and, then...the best part...hand cut sheets of amberlith or rubylith film per EACH camera-facing facet of the logo that would appear during the animation, then peg-bar punch each sheet of amberlith/rubylith. Then...figure out the timing sheet needed for the stacks of each facet-face, ... then!...do the backlit animation on the camera-stand (including in-camera mattes...that would slip mid-way through the shoot, but you didn't know it until you opened the camera to unload the exposed film...which you then knew, sitting there in the dark, that it was unusable, start again...). Easy! Before I knew better, I didn't rightfully claim ownership of most of these storyboards, i.e. the client would get/keep the actual board not a copy, or, the company I worked for would claim the boards. They were quite excellent artworks, actually. A more experienced illustrator with better client-pays-for-EVERYTHING world-experience knowledge would have kept the original artworks. Toughen up, live and learn. #storyboard #storyboards #backlit #35mm #film #animation #animated #motiongraphics #vector #vectorgraphics #amberlith #rubylith #pencils #drawing #illustration #illustrated #artworks

Digitally rendered clothes are an exciting development in fashion, blending cutting-edge technology with design. These garments are created entirely in digital form using 3D modeling software, allowing designers to experiment with materials, textures, and movement without ever needing to produce a physical sample, not to mention the opportunity for marketing through visual storytelling. In campaigns like “Wear Wool, Not Waste,” from The Woolmark Company digitally rendered clothes enhance the storytelling by showcasing detailed, hyper-realistic fabric simulations. This approach offers a sustainable and efficient alternative to traditional methods, reducing the need for physical materials and samples, and creating endless creative possibilities in virtual environments like the Metaverse or AR/VR platforms. Wool, in particular, can be deconstructed and repurposed, reinforcing the sustainability message as it can be broken down and reused in new ways, unlike synthetic garments. It’s a game-changer for fashion, enabling brands to create stunning visuals while pushing for sustainable, digital-first solutions. Adam Hankin Chris Weiniger Louise Laing Kevin Dooley #DigitalFashion #SustainableFashion #WearWoolNotWaste #renewablefashion #WoolCanBeDeconstructed #VirtualClothing #FashionInnovation #3DRendering #MetaverseFashion #ARFashion #EcoFashion #CircularFashion #3DClothing

CGI (Computer-Generated Imagery) and VFX (Visual Effects) are terms often used in the film and entertainment industry, but they refer to different aspects of visual creation and manipulation. Here’s a breakdown of the differences: CGI (Computer-Generated Imagery): Definition: CGI is the creation of still or animated visual content using computer software. It encompasses a broad range of digital imagery, including 3D models, animations, and simulations. Usage: CGI is used to create everything from realistic landscapes to fantastical creatures and objects. It can be used in both live-action films and animated features. Scope: CGI can include modeling, texturing, lighting, rendering, and animation. It’s a technique for creating digital images or sequences, which can be fully generated or combined with live-action footage. Example: Creating a fully digital character or an elaborate fantasy world from scratch. VFX (Visual Effects): Definition: VFX refers to the integration of CGI and other digital effects into live-action footage. It’s about enhancing or altering filmed content using various techniques. Usage: VFX involves the addition of elements that were not captured during filming, such as explosions, magical effects, or digital doubles. It can also be used to modify or enhance practical effects. Scope: VFX encompasses a variety of techniques, including CGI, compositing, motion capture, and digital matte painting. It’s more about how these effects are used to blend with and enhance live-action footage. Example: Adding a digital dragon into a scene with live actors or creating a massive explosion that wasn’t physically possible to film. Summary: CGI is a broad term for creating visual content through computers. VFX is a subset of CGI and other techniques focused on integrating and enhancing visual elements within live-action footage. In essence, CGI can be part of VFX, but VFX involves a wider range of effects beyond just CGI.

The year 2024 started & officially I completed 25 years working in the media production industry. The first couple of years back in 1998 to 2003, I worked on multiple animation series,Those were well-known at that time in Egypt. I started as a painter, colorist & compositor until I became a 2D & 3D character, background & environment designer so I decided this article to be about Animation & cartoons. Over the past few decades, cartoons & animation have undergone remarkable advancements. In terms of technology, traditional hand-drawn animation has evolved into computer-generated imagery (CGI), enhancing visuals significantly. Disney's transition from classics like "Snow White" to modern hits like "Frozen" showcases this shift. Advancements in 3D animation have given rise to films like "Toy Story" & "The Incredibles," offering a whole new depth & realism to animated worlds. This is how cartoon creation evolved over the years: 1. Storyboarding The process often began with hand-drawn storyboards outlining key scenes & actions. This can be seen in Disney's classic "Steamboat Willie," where storyboards were used to map out the scenes before animation. 2. Hand-drawn Animation Characters & backgrounds were meticulously hand-drawn on paper. Each frame had to be individually drawn, resulting in labor-intensive production. Classic examples include the intricate animation of characters in "Snow White & the Seven Dwarfs" or "The Jungle Book." 3. Cell Animation This technique involved drawing characters & elements on transparent celluloid sheets (cells) placed over hand-painted backgrounds. This method was widely used in films like "The Little Mermaid" & "Beauty and the Beast." 4. Computer Animation The advent of computers revolutionized animation. Pixar's "Toy Story" was the 1st feature-length film entirely created using CGI, marking a pivotal moment in animation history. 5. Motion Capture & 3D Animation Advances in technology introduced motion capture, where actors' movements are captured & translated onto digital characters, providing more realistic movements. Films like "Avatar" utilized motion capture for lifelike character animations. 6.AI & Machine Learning AI is being integrated into animation, aiding in tasks like character design, movement prediction, & even automating certain animation processes, streamlining production pipelines. The introduction of streaming platforms has allowed for more diverse storytelling & styles. Shows like "Avatar: The Last Airbender" have pushed boundaries in storytelling, character development, & artistry.AI & machine learning are likely to revolutionize animation creation, making production processes more efficient. VR & augmented reality could offer immersive viewing experiences, allowing audiences to step into animated worlds. I expect increased interactivity & personalization, where viewers might influence storylines or even create their content within animated universes, blurring the line between viewer & creator.