Deep down in the swamps of Louisiana, Evangeline finds a deserted alligator egg and hatches it under her bed, unbeknownst to her father Levon. Subscribe to the channel: https://bit.ly/31vOHH3 CREDITS CREW: Director: Nadine Schwenk Creative Producer: Nina Schwarz Art Director: Tobias Trebeljahr Character Design & Enviromental Design: Eddy Hohf & Sofiia Melnyk Environments & Lighting & Shading & Compositing & Rendering: Caroline Kiessling & Daniel Schmucker Pipeline TD: Tim Lehr, Lukas Gotkowski Rigging: Julian Oberbeck Music: Steffen Brinkmann, Nadine Schwenk Sound Design: Aliona Goncharenko Voice Actors: Chiara Haurand-Schlagkamp, David Steffen Storyboard: Felix Zehender Production Company: Filmakademie Baden-Württemberg GmbH - - - - - The Filmakademie Baden-Wuerttemberg, with its Animationsinstitut and the postgraduate masterclass Atelier Ludwigsburg-Paris, is one of the internationally most acclaimed film and media schools. On a unique campus including the neighbouring Academy of Performing Arts, the 500 students receive an interdisciplinary, highly practical education close to the film and media market by the hands of over 300 freelance teachers directly from the industry. www.filmakademie.de www.animationsinstitut.de www.atelier-ludwigsburg-paris.com

Dan Woodger uses his trademark, illustration style for Amazon Books creating character-filled reading emojis

Nobody puts Scarecrow in a corner! In the world of advertising, you win some and you lose some. Usually when you lose a pitch, the characters go on to unmarked graves in a cemetery of archives. But not this time! With inspiration from classic tap dance routines of the 30's and 40's, our A-team of Hornet artists helped get this bag of hay's dancing shoes on. Our scarecrow may not have won the pitch, but he sure won our hearts. Director Yves Geleyn Production Co Hornet Managing Partner Hana Shimizu Head of Production Karen Lawler Head of Creative Development Kristin Labriola Production Supervisor Dez Stavracos Associate Producer Theresa Peterson Production Storyboard & Choreography Matt Corsillo CG Modeling, Rigging & Animation Matt Corsillo 2D Background Design Hannah Kim, Valerie Yan CG Background Design Natalia Perez 2D Character Design Renaud Lavency Compositor & Lighting Rocky Lin (Jingbin) Senior Editor Anita Chao Assistant Editor Cole Bannick Audio Sound Design + Effects Carmen Borgia Original Music Recording Stefano Ligoratti

Framestore worked with J. Walter Thompson to deliver a shape-shifting, oil- and metal-creature for Shell V-Power, in an epic, VFX-laden campaign. Collaborating with Director Carl Erik Rinsch, the ad is suitably high-octane, with the stunning Chilean Andes serving as the theatre against which the dramatic action plays out. Shell Shapeshifter Making a Monster Early character designs were completed several months in advance of the campaign's release, with CG Art Director Grant Walker creating distinct characters for the different stages of the ad. 'Carl [director] had a strong opinion on what he wanted, but gave us a lot of scope to create original designs. The monster had to evolve throughout the ad and demonstrate the various threats to the performance of the engine', explained Grant. The monster at the start of the ad was based on a shrimp-like primitive creature, before morphing to resemble a spider and finally a land-based mammal like a gorilla. 'The concept character originally had more ambiguity to its form, but we made the conscious decision that it should take on more obvious forms. This gave the commercial more interest and the monster more identity'. Shell Shapeshifter 'It comes as no surprise that Framestore delivered on one of the most challenging, multi-faceted creatures I have seen in a commercial. It is not often that artistry, technology, and hard work come together so seamlessly.' CARL ERIK RINSCH - DIRECTOR On Set The shoot took place over a four day period in December 2014, with VFX Supervisor Russell Dodgson and CG Supervisor Robert Harrington both in attendance. 'It wasn’t like your normal supervising shoot. Carl was constantly whizzing off to get the amount of shooting done in the time we had available, and having the car and helicopter running a the same time, coupled with shooting on a Russian arm, it was pretty hectic', said Russell. 'We had to capture everything about the scene throughout the day – sizes, colours, distances, shapes. It was a challenge to get everything done in the time we had, but a great experience overall'. Gearing Up Shoot completed, post production kicked into gear in January. 'The chaotic, transformational nature of the character called for some fresh thinking when it came to rigging', explained Lead Rigger Kimon Matara. 'To manage permutations, a new codebase was established early on, built around Python inheritance patterns. The keyframed performance was layered with algorithmic effects, and a range of limb types were developed that could be animated at any orientation, roaming freely across the body. Deformer technology used to create the Mimics in Edge of Tomorrow helped refine the creature’s flow between states'. A library of various mechanical parts was created by the modelling team. This asset library was then used to populate the animated geometry with all the various mechanical parts. It was important to be able to art direct the shape, size and placement of these mechanical parts, as well as how they move independently from each other. Using Houdini's Bullet Solver Framestore were able to manipulate the behaviour of the mechanical parts as though they were a particle system, using some custom forces to determine how 'magnetised' the pieces are to each other as well as setting thresholds for how far a piece can deviate from the rest of the group, until it falls off and becomes independent from the rest of the creature. Using this set-up the team were able to manipulate a complex and flexible behavioural system within Houdini, which still adhered to real world conditions such as self collisions and gravity. It was then a matter of building more layers of complexity on top of what we now had; such as making the pieces emit dust and small debris whenever they collide with each other or with the environment. Shell Shapeshifter Setting the Scene There was plenty of work to be done elsewhere, most notably in CG. Not only was the entire car created in CG and used in several of the shots, but the bridge was rebuilt in post, as was the petrol station seen at the end of the ad. 'The tunnel sequence was by far the most challenging part of the ad from a classically CG perspective', said Rob Harrington. 'On set it became increasingly apparent that filming the intended tunnel would be a problem, so we suggested creating one in 3D instead. The components were pretty straight forward, but deciding on camera moves and colours is an iterative process which doesn’t sit well with long render times. We decided to render the tunnel very neutrally in separate components, letting us re-design it in 2D instead'. Shading, lighting and rendering were also big challenges for the team, with road replacements and environment clean-up adding to the workload. 'The sheer volume of work the Nuke team got through was outstanding. A massive number of shots were entirely recreated, with a full environment made for the petrol station to sit in, as well as a large amount of recreation