Taeps Animation Studios’ Post

“Ool’s magic is in really tapping into this incredible ecosystem, creative hub and family of talent... and always bringing it back to the core in Mexico.” Mexican creative studio Ool Digital Studio is expanding in North America - so I spoke with CEO Alvaro Guizar and the new EP and head of US sales Dan Weissman about everything this entails. Read the full feature below: LBBonline - Little Black Book

On October 16th, we participated in a roundtable dedicated to Virtual Production at the new VP Code Lab virtual stage in Tudela. During the session, our experts, Kike Unzu and Sergio Ochoa, shared insights on how this technology is redefining the way audiovisual content is created, opening doors to new artistic possibilities and optimizing both production and post-production workflows. Among other key topics, we discussed: ▶️ What is Virtual Production and what new dynamics does it introduce to the filming process? ▶️ How to maximize resources by optimizing time and merging post-production with pre-production. ▶️ Critical decision-making: when to shoot in Virtual Production and when to opt for more traditional techniques. Additionally, we provided personalized advice to the teams behind the projects "Sobre zarzas y matas" by Mikel Subiza, and "Marta y Sara" by Julio Mazarico, both currently in development at the VP Code Lab incubator. We offered guidance on planning shoots involving VFX and highlighted the key post-production areas that will make a difference in these projects. Virtual Production is not just a trend; it’s the future of the audiovisual industry, and we’re thrilled to be part of its evolution. #AntavianaVFX #VirtualProduction #PostProduction

Wow. This was an insane learning experience! I really have never edited a timeline like this before, but Im so glad I tried somethings new! I created this video over the past few months so the Rock Hill Blue Hawks football team has a season video from their past season. I really wanted to dive into the cinematic feel, give the "were not done yet" vibe. Sound design was a huge part in what I wanted to take good care with too- definitely more to learn still, it also helps i'm learning from my sound design with pro tools class about these things. A lot of After Effects interpolation went into this- that was really interesting ngl, figuring out how to intertwine AE comps with my premiere project. In all- this was a blast and a nightmare. I struggled with writer block a lot figuring out how to tell a somewhat story in this, make it feel compelling. I learned a lot about my videography and how it affects my editing process. I was using a a7iii and a 28-70 kit lens only all season, while I also added clips from the other videographer I worked with this season who was running a Lumix with telephoto lenses that could capture the events much better than I could. So it was really interesting putting both of our clips to work. This project was defitinly a step up from what I normally work on though, Im excited to keep creating from what I have learned in whatever is coming up. #sportsvideography #footballvideography #premierepro #staycreative

Not everything that gets proposed or design gets used of course, in this case a goodbye to the DeLorean video intended to go onto the Avantis company socials but never made it, but it still a fun social project to share. The idea for the video was to show the DeLorean leaving Avantis as it returned to its permanent home as something of a fond farewell after being a talking point both in the company building and at events over the years. Though it wasn’t the hero car from the first Back to the Future film it was a replica produced as a back up vehicle in case it was needed on set, and had been signed by Christopher Lloyd and producer Bob Gale on the dashboard. Having come up with the idea upon hearing that the DeLorean would be leaving company property permanently, our social media executive Alicia Langton-Balchin came up with the sequence of shots that we wanted to utilise as the DeLorean left the building on its journey, and we brainstormed the angles that we would ideally film the car from, within limitations of the industrial estate car park and vehicles parked/moving around it! Given the DeLorean was so central to Bett a few years ago the old promo video and footage was utilised as a throwback and reminder to that event, though I redrew and recoloured the main titles to match more closely those used in the film trilogy. I also matched the typeface, transition style and exact timing used on the opening of Back to the Future 3 for the location and time titles, so we were as consistent with the films style as we could be. For the new footage we only had two gimbal assisted takes, and swift ones at that, due to time constraints - although due to the company location there was no chance of getting the DeLorean to 28mph nevermind the famed 88mph needed for it’s time travelling adventures, so no flame effects nor pricey soundtrack to go with the video. But overall we felt it was a nice tribute to the DeLorean and good to take advantage of having an item of movie memorabilia at the company to create something a little different for the Avantis social channels. #delorean #backtothefuture #bttf #videoediting #video #videomarketing #aftereffects

"What was the hardest production to land in the ones you bid for, and why?" Thanks to Lisa Doucet for asking me this question. And here was my answer: The hardest productions to land were the ones I did not land at all! I spent so many hours on projects that never saw the light of day or that were not a right fit for the studio I was working with. Projects that are a natural fit flow better during the bidding process. Bidding is always a huge challenge; it is a complex process, but it should not be 'hard.' If it is, it means the project is not the right fit, or my mindset regarding this specific project is misaligned. So I then ask myself: "How can this project be a win-win situation for the client and the studio?" if I cannot find the answer, even though I think about it really hard, well, maybe it's time to let go! --- I created Bidding Winning Animation Projects with Virginie Lavallée to answer questions like these and help create a generation of human-centric, creative, and driven producers! We offer 50% off until Monday, Feb.5th, at midnight EST. Join us!

Producing video for product-related companies can be tricky when it comes to lighting, design and the best information to include. Thanks to the production team at Valere Studios, our clients never have to worry about their next content move. #cincinnati #cincinnativideoproduction #professionalvideography #businessbrandvideos #cincinnatimarketing #cincinnativideography #professionalfilmcrew #socialmediamarketing

Animations for trial are a key strength at Austin Visuals, where we turn intricate legal evidence into compelling visual narratives, significantly enhancing jurors' understanding and strengthening case presentations. #legalanimation #courtroomanimation #austinvisuals

Great and playful way to visualize the essence of the importance of Industry! I'm always intrigued to see the process and evolution of an animation video from script to design to animation and sound.

Ever wondered about the differences between #PremierePro and #Filmora in terms of keyframing? Get the inside scoop with our detailed comparison. 🎬🔑 Frame your understanding right here 👉 https://lnkd.in/eZJnFJUc

Bologna Children’s Book Fair, which is partnering up with CARTOON Forum to strengthen the links between publishing and animation, has always been the world’s leading event for finding the next publishing IP to turn into audiovisual content, or the publisher partner to bring animation original stories to paper. 🔎 Discover more about the #BCBF and the TV/Film Rights Center with this article by Cristina Angelucci (straight from the first issue of #EAJ!) #europeananimationjournal #europeananimation