Ad Age Illustrated

Ad Age Illustrated

Ad Age Illustrated

Ad Age Illustrated

Ad Age Illustrated

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.

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

Role
-
Animation
Direction
Sound Design

Role
-
Animation
Direction
Sound Design

Role
-
Animation
Direction
Sound Design

Credits
-
Brian Steckel:
Direction
So A Ryu:
Illustration

Credits
-
Brian Steckel:
Direction
So A Ryu:
Illustration

Credits
-
Brian Steckel:
Direction
So A Ryu:
Illustration

Credits
-
Brian Steckel:
Director
So A Ryu:
Illustrator

Credits
-
Brian Steckel:
Director
So A Ryu:
Illustrator

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 CD 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

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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