Ad Age Illustrated
Ad Age Illustrated
Ad Age Illustrated
Ad Age Illustrated
Ad Age Illustrated
An animated short for AdAge, recounting Carol Williams' story of meeting advertising legend Leo Burnett.
An animated short for media news publisher Ad Age, recounting Carol Williams' story of meeting advertising legend Leo Burnett.
An animated short for media news publisher Ad Age, recounting Carol Williams' story of meeting advertising legend Leo Burnett.
An animated short for media news publisher Ad Age, recounting Carol Williams' story of meeting advertising legend Leo Burnett.
An animated short for media news publisher Ad Age, recounting Carol Williams' story of meeting advertising legend Leo Burnett.
Year
2019
Year
2019
Year
2019
Year
2019
Role
Director
Animator
Sound Design
Role
Director
Animator
Sound Design
Role
Director
Animator
Sound Design
Role
Director
Animator
Sound Design
Role
Director
Animator
Sound Design
Credits
Brian Steckel
So A Ryu
Credits
Brian Steckel
So A Ryu
Credits
Brian Steckel
So A Ryu
Credits
Brian Steckel
So A Ryu
Credits
Brian Steckel
So A Ryu
Conception
Conception
Conception
Conception
Conception
The fine folks at Ad Age came to FCB Chicago with a concept they had been kicking around for a new series of animated web shorts that would later be titled Ad Age Illustrated. Looking for creative ways to tell stories from industry leaders, the team looked to myself, illustrator So A Ryu, and creative director Brian Steckel for a compelling animated short that would act as the first episode in this on-going series.
With complete creative freedom, we chopped up an audio interview the guys from Ad Age dug up and crafted a two minute narrative. We spent the next two months combining traditional cel animation, 2D After Effects compositions, and 3D Cinema 4D techniques that mimicked a hand-drawn aesthetic.
The fine folks at Ad Age came to FCB Chicago with a concept they had been kicking around for a new series of animated web shorts that would later be titled Ad Age Illustrated. Looking for creative ways to tell stories from industry leaders, the team looked to myself, illustrator So A Ryu, and Brian Steckel for a compelling animated short that would act as the first episode in this on-going series.
With complete creative freedom, we chopped up an audio interview the guys from Ad Age dug up and crafted a two minute narrative. We spent the next two months combining traditional cel animation, 2D After Effects compositions, and 3D Cinema 4D techniques that mimicked a hand-drawn aesthetic.
The fine folks at Ad Age came to FCB Chicago with a concept they had been kicking around for a new series of animated web shorts that would later be titled Ad Age Illustrated. Looking for creative ways to tell stories from industry leaders, the team looked to myself, illustrator So A Ryu, and Brian Steckel for a compelling animated short that would act as the first episode in this on-going series.
With complete creative freedom, we chopped up an audio interview the guys from Ad Age dug up and crafted a two minute narrative. We spent the next two months combining traditional cel animation, 2D After Effects compositions, and 3D Cinema 4D techniques that mimicked a hand-drawn aesthetic.
The fine folks at Ad Age came to FCB Chicago with a concept they had been kicking around for a new series of animated web shorts that would later be titled Ad Age Illustrated. Looking for creative ways to tell stories from industry leaders, the team looked to myself, illustrator So A Ryu, and Brian Steckel for a compelling animated short that would act as the first episode in this on-going series.
With complete creative freedom, we chopped up an audio interview the guys from Ad Age dug up and crafted a two minute narrative. We spent the next two months combining traditional cel animation, 2D After Effects compositions, and 3D Cinema 4D techniques that mimicked a hand-drawn aesthetic.
The fine folks at Ad Age came to FCB Chicago with a concept they had been kicking around for a new series of animated web shorts that would later be titled Ad Age Illustrated. Looking for creative ways to tell stories from industry leaders, the team looked to myself, illustrator So A Ryu, and Brian Steckel for a compelling animated short that would act as the first episode in this on-going series.
With complete creative freedom, we chopped up an audio interview the guys from Ad Age dug up and crafted a two minute narrative. We spent the next two months combining traditional cel animation, 2D After Effects compositions, and 3D Cinema 4D techniques that mimicked a hand-drawn aesthetic.
Development
Development
Development
Development
Development
The team was juggling several client projects while in the midst of this pro-bono production so looking for ways to optimize animation was essential.
We boarded out two of the most dynamic scenes with the intention of animating them in a traditional frame-by-frame style. As production continued, it was clear that this workflow wouldn't be realistic with our timeline.
Instead we opted for a 3D approach, animating the general movement with sculpted primitives inside Cinema 4D. These sequences were then rendered with sketch and toon which takes the edges, contours, and splines in the 3D scene and creates a series of strokes based on the geometry. From there we were able to take the lines and dial in a more hand-drawn appearance.
The team was juggling several client projects while in the midst of this pro-bono production so looking for ways to optimize animation was essential.
We boarded out two of the most dynamic scenes with the intention of animating them in a traditional frame-by-frame style. As production continued, it was clear that this workflow wouldn't be realistic with our timeline.
Instead we opted for a 3D approach, animating the general movement with sculpted primitives inside Cinema 4D. These sequences were then rendered with sketch and toon which takes the edges, contours, and splines in the 3D scene and creates a series of strokes based on the geometry. From there we were able to take the lines and dial in a more hand-drawn appearance.
The team was juggling several client projects while in the midst of this pro-bono production so looking for ways to optimize animation was essential.
We boarded out two of the most dynamic scenes with the intention of animating them in a traditional frame-by-frame style. As production continued, it was clear that this workflow wouldn't be realistic with our timeline.
Instead we opted for a 3D approach, animating the general movement with sculpted primitives inside Cinema 4D. These sequences were then rendered with sketch and toon which takes the edges, contours, and splines in the 3D scene and creates a series of strokes based on the geometry. From there we were able to take the lines and dial in a more hand-drawn appearance.
The team was juggling several client projects while in the midst of this pro-bono production so looking for ways to optimize animation was essential.
We boarded out two of the most dynamic scenes with the intention of animating them in a traditional frame-by-frame style. As production continued, it was clear that this workflow wouldn't be realistic with our timeline.
Instead we opted for a 3D approach, animating the general movement with sculpted primitives inside Cinema 4D. These sequences were then rendered with sketch and toon which takes the edges, contours, and splines in the 3D scene and creates a series of strokes based on the geometry. From there we were able to take the lines and dial in a more hand-drawn appearance.
The team was juggling several client projects while in the midst of this pro-bono production so looking for ways to optimize animation was essential.
We boarded out two of the most dynamic scenes with the intention of animating them in a traditional frame-by-frame style. As production continued, it was clear that this workflow wouldn't be realistic with our timeline.
Instead we opted for a 3D approach, animating the general movement with sculpted primitives inside Cinema 4D. These sequences were then rendered with sketch and toon which takes the edges, contours, and splines in the 3D scene and creates a series of strokes based on the geometry. From there we were able to take the lines and dial in a more hand-drawn appearance.
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