Episode Transcript
Speaker 1 00:00:01 Hi, I'm Aaron OVS
Speaker 2 00:00:03 And I'm Austin Shaw.
Speaker 1 00:00:05 This is between the key frames.
Speaker 2 00:00:12 What's up.
Speaker 1 00:00:14 <laugh>. Hi Austin. It's good to see you.
Speaker 2 00:00:18 Nice to see you too.
Speaker 1 00:00:20 So this episode, we're gonna talk about all of the things we make. Uh, I think the purpose of this episode is to really kind of give a kid a tool or somebody looking to change their career to show their partner or their parents like, Hey, these, this is what I wanna go into. This is all the stuff out there that I can potentially do with a career in motion design. Right. And, um, to get people jazzed. But I think sometimes we get so in our own lane, like I make this, so I'm focused on this, but there's a whole other category, especially if you're looking to pivot within the industry that you can think about for this episode of talking about all the things we make,
Speaker 2 00:00:57 Broad stroke.
Speaker 1 00:00:59 Yeah. Broad strokes. I think in doing prep for this episode, it really made me re fall in love with the field. You know, that's awesome. Looking at all this amazing work, I'm sure that that somebody has not represented some studio or some person did some awesome iconic thing that we don't have in here. That's real. It's not the, each, each of these, like you exhausted, you say this all the time, each of these things could be an episode. Right.
Speaker 2 00:01:24 So, right. Yeah. This is not meant to be a comprehensive or exhaustive list so much. It's just, we're touching on the categories.
Speaker 1 00:01:33 Yeah. It's more just a top line. So with that, let's dive into all of the things we make all let's start with. Yeah. Let's start with titles. Why don't you give us a, a, a synopsis of what a title is?
Speaker 2 00:01:46 Yeah. So titles, right? Like what, what's the purpose? Um, it's kind of a threshold device. It's something to set the stage. So if it's a film title, it's a setting the stage for what that film's about. If it's a TV title or some kind of an event, um, it brings you in, it puts you into the mood. It's a mood set.
Speaker 1 00:02:05 Yeah. Okay. So there are lots of different kinds of titles, sequences. There's film titles. I just judge this. So by Southwest, um, you know, award show for me, titles, and I was very impressed by birth to prey believe shine did that. And I just like really loved that.
Speaker 2 00:02:22 Nice. How about, how about the winter soldier, captain America titles that y'all did, right? Yeah.
Speaker 1 00:02:30 I mean, iconic,
Speaker 2 00:02:31 Iconic. <laugh> dare I say iconic.
Speaker 1 00:02:35 Dare I say iconic at this point. So also, but speaking of like psycho SA bass
Speaker 2 00:02:41 That's right. Iconic back in. Right. And that was one of the references for winter soldier, right.
Speaker 1 00:02:47 Mm-hmm <affirmative> right. Well, I mean, it's all bass in general, I think is a big the oversimplification and
Speaker 2 00:02:53 Yeah. Right. And bringing it back to some of the classics, uh, Marie spender, right? The, the James Bond, Dr. No, getting that whole kinda that, uh, franchise kicked off,
Speaker 1 00:03:04 Kicked off. Yeah. And, you know, still in the genre that time period anyway, um, Pablo Farrera is a big reference far
Speaker 2 00:03:13 Pablo far, just farro
Speaker 1 00:03:14 Pablo Farrow far. I'm from long island and it's really coming out farro
Speaker 2 00:03:22 Far
Speaker 1 00:03:22 Farro. Well, I love him. However you say his name. I love him so much. Um, and that Thomas crown is like my favorite piece. I just think it was like a really beautiful way of showing a spy thriller.
Speaker 2 00:03:35 Nice. I
Speaker 1 00:03:36 Wasn't five, but it was like a thriller, like trying to figure it out, piecing things together. Yeah. Still referenced is catch me if you can.
Speaker 2 00:03:44 Right. Catch me if you can, which was another one of those that was, uh, kind of an homage of the, of the classics of the SA bass. And what about, uh, everybody's everybody's favorite seven, right. Seven, seven shown in every, every motion design, uh, film title class. Right. And this was, this was just a project that, um, really helped kind of kick off the, the Renaissance or the resurgence of film titles. And, uh, yeah.
Speaker 1 00:04:17 Okay. So outside of film titles, we have TV titles, so many amazing TV titles, and we'll start with one of mine that just came out well, mine and thwart and James Gunn. And a lot of people have ownership over this, but peacemaker, you know, that is just creating waves through the social lexicon, which is, you know, amazing to see for a main title.
Speaker 2 00:04:40 Nice. Um, another one that, that you all did that, uh, I enjoy and is getting a lot of love, especially this last couple years research is community, right. Wow. Super fun. Super fun titles,
Speaker 1 00:04:53 Super fun. Both of them are like kind of rooted in comedy actually. So that's kind of cool and lovely, cuz usually like things are very main titles for shows that I seem more relevant <laugh> or more artful are, you know, like true detective where it's very emotional dramatic kind of show and you can really let things play out a little bit more.
Speaker 2 00:05:16 Yeah. That was one too that I found was, um, another one I show a lot to students and for a time really kind of set a trend and bought that double exposure kind of Matt style and, and really influenced the, you know, across industries too, seeing commercials done in that same style referenced all the time,
Speaker 1 00:05:36 Referenced all the time. Yeah. Yeah. You know, one that like, people didn't really talk too much about maybe because of where it was placed in the show was Queens gambit. I thought that was a really fun title sequence. It was at the end of the last episode and it had all, it was like the full credit list, not just a main title credit list. And I just thought that was really beautiful. I just wish it would've been like on every episode. Right.
Speaker 2 00:06:00 How about classic?
Speaker 1 00:06:01 But I wanted to mention it. Yeah.
Speaker 2 00:06:02 Oh yeah. Yeah. I was gonna, I was gonna jump up, jump ahead to a classic, uh, the Brady bunch,
Speaker 1 00:06:08 I mean Brady bunch, golden girls, you know, friends
Speaker 2 00:06:12 Sound, right?
Speaker 1 00:06:13 Yeah. The sound, the song, it really brought you to the dinner table for, I remember family ties, all of those had these classic main titles even night court <laugh>
Speaker 2 00:06:25 Right. Cheers. Like they were
Speaker 1 00:06:26 Cheers, super iconic. Exactly. Like, so that, those kind of set the tone for those shows, you know, and those were more comedic, comedic, sick comedy ones, but you know, bringing it back to a more modern touch was the morning show that came out of elastic. I mean, elastic, you can't talk about TV, main titles and not talk about elastic. So the morning show I thought was a really cool and it was kind of out of their traditional lane of right,
Speaker 2 00:06:54 Right. It
Speaker 1 00:06:55 Was more playful and fun. Yeah,
Speaker 2 00:06:57 Yeah, yeah. I was gonna say, how about game of Thrones? It's another one about Alaska.
Speaker 1 00:07:01 Right. And you know, also one of my favorite title secrets of all time that really kind of brought me besides six feet under, which is amazing and you know, digital kitchen Danny on, you know, it kind of did for titles, like what you said seven did for films for TV titles, what seven did for film. But the last one to talk about is carnival for me, cuz carnival, I, I was like, wow, that is kind of what we're experimenting with with motion design and kind of bringing that into, into the television genre, cuz even at that time six feet under that was still just live action just
Speaker 2 00:07:37 Right. You know, I know no for me, carnival was one of those I remember seeing, and, and I remember seeing the after effects camera work, it was one of the first that I thought really did a, just an amazing job of transitioning between graphics and illustrations to archival footage. Um, that made a real impression on me.
Speaker 1 00:07:57 Yeah. I actually wonder how that was made because now you would totally do that in after effects or cinema even. But I think back then it might have been done in the flame. Yeah. I'm not sure. Anyway, doesn't matter.
Speaker 2 00:08:08 Let's ask, let's inquire. I'll ask, we're gonna find out.
Speaker 1 00:08:11 Okay. So along the TV title kind of deal is, um, title cards, you know, we have the whole title card thing and I just absolutely love the killing Eve title card
Speaker 2 00:08:26 And they yeah. With the, uh, the drip, the like the blood drip coming to and different places. Right. And the different colors. Yep.
Speaker 1 00:08:33 Yeah. And you even have like, um, people talk a lot about the one from Ozark because it's really cool looking and it says something about the show. It's pretty neat.
Speaker 2 00:08:43 You get the four little graphics that are like little hints. I'm always looking for 'em. Yep.
Speaker 1 00:08:48 Super cool. So also you would think that would be it when it comes to title sequences, but it's not, it it's not, that's not, it that's not, it that's not all, um, you also have like events, events, like Oscars and Emmys and things like that, other right. Kind of
Speaker 2 00:09:06 Award shows,
Speaker 1 00:09:07 Award shows. Um, so, and even like, if you have a big brand event, sometimes they'll have like a, an opening for that. But yeah, the Oscars is a big one that we talk about in the industry. And I really love this one from pentagram, you know, the film, independent spirit awards. It's just very tactile and cool.
Speaker 2 00:09:28 I got another one. I mean, how about some of those like MTV music awards, right. Um, after year they do some really fun, cool, uh, treatments.
Speaker 1 00:09:38 Yeah. And this kind of gets into, you know, branding, cuz those are, seem to be like extrapolated into full long kits, but you know, they do put a big effort into the openings as well. And then a new thing. That's not really that new, but it's new to us cuz it didn't exist when we started are these conference titles, which are just an opportunity to create art typically cuz they're unsupervised and you can kind of do whatever you want when you're given them.
Speaker 2 00:10:06 Yeah. It's like an opportunity for designer or studio to really flex, uh, do something. Yeah. Uh, experimental or like you say, like something that maybe was a pitch that didn't make it, but you want, you know, cool idea that you wanna see executed.
Speaker 1 00:10:21 Yeah. The ones that I like wanna pull call out are like this one, uh, for what is it playground or playgrounds by the panics. You know, I really made me interested in who these people are. So that's really cool. It was a real fun solution.
Speaker 2 00:10:35 Yeah. Right on. And they've got lot of semipermanent, right. They've done, uh, just year after year really cool titles.
Speaker 1 00:10:42 And I'm a huge fan of these ones by Joyce's ho she's like, you know, all here. She's awesome. And you can't talk about, um, conference titles without mentioning F I TC Ash. He's the man. He did a, such a great job on these titles
Speaker 2 00:10:57 Right on,
Speaker 1 00:10:59 Okay. That's it for titles that we have, if you think of more titles, please let us know any kind of other categories that titles exist. Okay. So next up is commercials things for advertising purposes. Now commercials are typically we're. I think we're looking more at broadcast spots, but like now it's, pre-roll, there's all these other places where commercials kind of play. So yeah. So television commercials. Okay. Like what's the first one that comes to your mind for a television
Speaker 2 00:11:29 Commercial. Well, there's the, that really cool campaign man versus machine the air max Nike air max. And, and they do that kinda like year after year. So it's, it gets a little bit of a serial vibe to it, but they're just awesome. Super fun kind of rub Goldberg esque, but really cool. 3d stylized.
Speaker 1 00:11:48 Yeah. Yeah. Just really kinetic. Cool. And you really feel the air <laugh> feels like, okay, so one of my favorite commercials and it's a little bit maybe dated already, but I love that piece for the, for cracking that block and tackle. Did I just think that is so cool. It's like an illustrated style, but brought to life in this three dimensional way. I think it's really cool
Speaker 2 00:12:11 Right on, well, let's get a little, little more historic. One of the early influences for me was the bomb bay staff fire that SYOP did with the super, like just gorgeous design illustrations, nice camera work, uh, perspective changes that were really pleasantly surprising. That stands out for me as like one of my all time favorites.
Speaker 1 00:12:33 You know, I just saw the other day on TV, a new, um, AirPod commercial and I loved it, but it all, it took me way back to the early nuts. So to say <laugh> for the original iPod commercials, you know? So you had like this total reinvention of, you know, the spot. I just think that that's really super cool.
Speaker 2 00:12:55 Right. Well, I remember seeing those commercials and like the, just the advertising all around, you know, you'd walk around New York city and just massive billboards and you'd see it on TV. Yeah.
Speaker 1 00:13:05 And that, yeah, that iPod stuff was everywhere,
Speaker 2 00:13:08 Everywhere, but you know, and it's cool. And I like when I, when I reference that with students and like, okay, and then we're gonna go look at these old school, you know, James Bond, film titles. Right. And see the reference of the silhouettes and then we're gonna go and we're gonna look at like Len lie, who was an experimental filmmaker who was doing really cool things with silhouettes back in like I think the thirties, 1930s. So it's super cool. It's pretty cool to trace the, uh, the references.
Speaker 1 00:13:34 Okay. Another cool spot that, you know, when I was looking up the reference for the Bob by SHA what I saw the cross was this, uh, piece by golden Wolf. Um, the Johnny Walker piece, I just thought that was a really beautiful, it was illustrated, but it wasn't like just cell animation. It was just a really stunning piece, you know, thought it was really cool.
Speaker 2 00:13:58 Yeah. One more, one more studio. I really like it does awesome commercial work is, uh, not real. And they do just cool branding and, and it, they take it in this kind of multi-platform um, just kind of fresh, strong design in motion. Yeah.
Speaker 1 00:14:15 Yeah. I like that piece that you shared with me for rad beverage <laugh> right. Was so rad. It was so red. No, but I just like, the design was really strong. The color was really playful. It reminds me of what was going on with bubbly or remember that stuff we did at Superfad like for PTA, it was just so colorful and fun, you know? Nice. Yeah. Yeah. Okay, awesome.
Speaker 2 00:14:42 So we're back. We're gonna talk about network promos next and, and network promos and network branding. That was really one of the areas that I got my start. Um, in addition to doing TV commercials, uh, lots of work for whether it was network branding, uh, rebrands network launches, packaging, and, and certainly promos. And it's, it's been a mainstay, uh, of motion design for, I guess the last two decades.
Speaker 1 00:15:10 Yeah. I think the reason that these networks have leaned on motion designers is cuz you can churn 'em out pretty quick and pretty cheap and at a higher production value. And I think they kind of locked into that thinking very early on. So some of like FX does some kick ass promo. I think if you think about the work they did with the Simpsons and you know, the Simpsons have been on a few networks, so there's, there's definitely a few packages out there for the Simpsons that have knocked me on my butt that I love so much. Right. Yeah. Right.
Speaker 2 00:15:39 Yeah. Awesome. How about, how about another FX American horror story,
Speaker 1 00:15:44 American horror story? Danny young has done a couple packages for them that have been super inspiring, super inspiring to look at really beautiful production.
Speaker 2 00:15:58 Um, one thing to talk about, I think with social media and, and this idea of television, right, is that television has become somewhat decentralized mm-hmm <affirmative> like the television that you and I came in working on where it was like we were doing SD. Then we were doing HD and everything gonna be HD, but now it's, it's everywhere. And in some ways it's like maybe, you know, the bulk of the work that I used to do in a lot of network branding is, has been, um, distributed to social mobile platforms. Right. And in a way it's like we got TV in our pockets, we got TV everywhere we go now. Um, so there's a lot of work there for, for social media and, and a lot of it is multi-platforms. So, um, any, any of these campaigns that, that come out and stand, come to mind for you stand out?
Speaker 1 00:16:46 Well, I mean, I just love this recent work for burger king. <laugh> they've done a lot of really fun stuff that really works on social because it's got a lot of legs and a bunch of different directions and a couple different styles, but it still seems to be kind of pinned together with, you know, messaging and a visual direction. So I, I like that stuff, but I think, I think we should talk about some of your work cuz you do a ton of this, like a ton of this as a freelancer and you work direct with the brands, which I think people don't realize. I think, you know, a lot of our clients are advertising agencies, but more and more brands are hip to what's going on and they're just going directly to freelancers or building in house teams. So that's a whole other avenue for exploration if you're looking for work
Speaker 2 00:17:34 Right on. Well, I've had, I have a long, long history with Ralph Lauren, uh, probably going on about 14 years now of doing projects direct with them. And mm-hmm, <affirmative> a lot of this has shifted. I did a lot in store, uh, in the beginning, but a lot of this has become now social mobile did a campaign for the pink pony campaign, which was really fun yeah. Where we did the word love and all these different languages and they wanted the seamless morph and, and that went across like social website. They had at a home, uh, done stuff for Spotify. Another one that was a, and it's interesting because it's this, this combination of both the little screen, right? Like the little phone screen and then these giant massive billboards, like these times square stuff that I did for, uh, for a Williams I know, release of a new song. And that was really cool. And then, um, another client I do a lot of stuff with is anthropology. And mm-hmm, <affirmative> talk about this idea of like short form storytelling or glance media is like where you're in the feed and you're scrolling and you only have like snackable, right? Like it's you only have a couple seconds. So some of these really eye catching fun quick. And, and I like it. I like a lot of these, um,
Speaker 1 00:18:47 Yeah.
Speaker 2 00:18:48 You know, high, high design, fun design, and you can kind of do a lot in a very short amount of time.
Speaker 1 00:18:54 Well it's like imagine going through a catalog, but it's just like one product or a set of products that are all like in the same thing. And you're, you're just calling attention to it right away with the design and the animation. So that's, I, I think like glance media is like a really lovely way to put it and snackable, because it's just like, Hey, here's this new pair of shoes like right. Catch
Speaker 2 00:19:16 It's your attention quickly. Yeah.
Speaker 1 00:19:17 Yep. For a reason it's here in your feed for a reason you're probably gonna like this and wanna learn more or shop now or something like that. So more and more people are gonna start selling directly on these platforms and they're gonna need more and more of that living catalog type stuff.
Speaker 2 00:19:36 So music videos, uh, rich history of course like MTV, right? Like all of that, lots of, lots of inspiration from there. I actually, one of my, uh, earliest internships was at RCA records and I, I worked with the video commissioner and this was like pre Napster <laugh> right. So there was actually like, yeah. I mean, it was like they had a lot of clout, like big budgets. Yeah. Um, and, and lots of experimentation directors, writing treatments, uh, really, really cool stuff. So what are some of your, what's your, uh, your favorite?
Speaker 1 00:20:12 All right. I'll go music video through my list of golden old days. <laugh> cool. Uh, I gotta start with aha. Take on me. Like I, I wanna be the one that does a modern interpretation of that. Like without question, if it's somebody else gonna be really disappointed <laugh> but it's gotta be the exact right thing, you know? So, so aha. Take on me, you know, they, the white stripes had a bunch of really cool shit and they obviously had a relationship with Gundry for, um, for a long time, the seven nation army with a so cool fell in love with a girl. They, they just were like, duh shit. You know, they might be giants had this super fun video called bastard, wants to hit me. And a friend showed that to me. And I was just like, it was like sale automation and motion design. It was like the coolest thing. And the song was so fun. I don't know. It was amazing. Yeah. Right on. Do you have any, all these?
Speaker 2 00:21:14 How about, yeah. Do you remember Noles Barkley? Yeah. Remember crazy.
Speaker 1 00:21:18 The RO shot. The RO shot.
Speaker 2 00:21:20 Yeah. Yeah. I remember being at brand new school. I was freelance permanence in there and I remember when that came out and then we were all just watching it. It was just, yeah, that was very cool. Um, right on another one that's kind of old that I really like is, uh, SYOP did this converse, uh, for my drive through. Yeah. It was super cool with all the, I think they've actually printed everything out and like cut them out. That's awesome. Um, yeah. Yeah, that was a, such a cool one. Um, another one getting a little more closer to date is, uh, uh, Ario Costa. Like my brain. He did, he actually did a couple real cool. He did one for green day. Yeah. That was super cool. All collage. And he did another one for, he did the official video for led Zeppelin. Oh. Um, for led Zeppelin song. Yeah. Which is really neat and a much more contemporary one would be, uh, something that scholar recently did that I thought was really cool where they were, did a lot of artwork in procreate and using, um, mocap mocap to actually map onto the talent really neat stuff. Awesome.
Speaker 1 00:22:26 Yeah.
Speaker 2 00:22:30 Wanna jump right in
Speaker 1 00:22:30 Let's jump right. Episodic, which is, you know, not something that motion designers typically talk about, but it is something, especially if you're more on the cell side of things or into something more, you know, longer format you could land, you could cross over into that territory. So Julia Potts who's represented by a Hornet. Does this summer camp island thing that we looked at and were like, oh my God, she also does a bunch of commercial work there,
Speaker 2 00:22:59 But this, I remember I saw her speak at, at F five. Actually you spoke at the same conference too. Uh, bunch of years back in New York. And, and, uh, that was when I first got introduced to work and I, I thought it was just super cool. Yeah. Um, illustrator gone at an animator. Who's gone now to episodics. And one thing I'll say too, is that in, in my early days I curious pictures. Oh. Um, I was working on the commercials and network branding and all that, that side of things, but they had a few in-house productions. They were doing a cartoon, uh, called the kids next door, which I think was a real popular cartoon, um, sheep in the big city. So like, like that was a part like, you'd go down to another wing and there were all these long format, like ill artists. Yeah.
Speaker 1 00:23:47 So that reminds me a lot of like maybe the modern version of that is awesome. Mink, this amazing company basic in Atlanta, I believe. And they do a bunch of stuff for adult swim, like Aqua, Aqua, hunger, fors, and SQUI squib. Billy just love crazy fun shit. You know what I mean? That's like, <laugh> not safe for four year olds, but like awesome stuff, you know? And you know, when you look at movies like, uh, Spiderman into spider verse, just watching a trailer for that is like emotion, graphics, delight. Now when you get into like film work like that, or even TV work like this, there is a pipeline. And so, you know, like when you're at Pixar doing a film there, which also could be considered episodic or long format, you know, sometimes you'll get pinned into a specific thing. Like, are you doing storyboards? Are you kind of doing look dev, are you doing rigging animation? You know, it gets real granular and specific at times you're not motion design tends to be more like, you know
Speaker 2 00:24:50 Yeah.
Speaker 1 00:24:51 Jack of all trades generalists speaking.
Speaker 2 00:24:53 Yeah, exactly. Exactly. Yeah. But
Speaker 1 00:24:56 Episodic is, is alive and well and long format is alive and well, and it's only getting bigger and with cartoons being, not just for children anymore and kind of, kind of pushing, even in
Speaker 2 00:25:10 Shoot, I've been watching, uh, box Mackin, which is Dungeons and dragons. I'm trying, I think it was critical role. They had a super successful podcast. They did a Kickstarter like record setting amount of money raised to produce these episodes of their Dungeons and dragons campaigns. And they're definitely not for kids.
Speaker 1 00:25:29 That's awesome. That's really cool.
Speaker 2 00:25:35 All right. Next up. We're gonna talk about branding, motion branding and lots of avenues to do. We've got traditional network branding. We've got, uh, streaming services, all kinds of things. And, and there's just a tremendous amount of opportunity. So thinking traditionally, any, anything stand out for you?
Speaker 1 00:25:53 Yeah. You know, the stuff they do in Europe is, I don't know is maybe a little bit more inspiring.
Speaker 4 00:25:58 <laugh>
Speaker 1 00:26:00 Just, they have a little bit more bandwidth to do artistic stuff. And I think, you know, man versus machine, they've done a bunch of really cool rebrands, but the one that comes to mind for me is that more four, you know, um, for channel four, just really cool flipping. It was like my microphone phone.
Speaker 4 00:26:20 <laugh>
Speaker 2 00:26:22 Really cool. Flipping.
Speaker 1 00:26:23 Yeah. Just like, as I knock over the microphone, <laugh> like
Speaker 2 00:26:26 That, you know, there's something I've really like early on. And I think even in grad school that I noticed is that like Europe and Asia, like they tend to be more abstract and less concerned or worried that the audience isn't gonna get it. Right. Totally. Yeah. Yeah. Um, one of the more modern, uh, troll back right. Troll back does like super cool branding. The, they just redid ABC mm-hmm <affirmative> uh, worked with Steven Kellerher, super talented graphic designer who I think worked on the logo and just an awesome, uh, rebrand there. Super
Speaker 1 00:27:00 Cool staff. And then you, you know, along with regular networks, you have streaming services, which I don't know why we just microphone is super fucked right now. Like it was just in here playing around with it. So I think she still have the little pads <laugh> she liked pocketed them. She's a total little thief. No, but so streaming services, uh, Gretel did this piece for Netflix. That was, I remember when I saw it, I was like, wow, that's really cool. Really, really cool.
Speaker 2 00:27:30 Right. Just a neat system. And how about another one? Uh, buck did for Hulu. Yeah. Right. Really contemporary illustrations combined with stylized 3d. Yeah. Awesome stuff.
Speaker 1 00:27:43 Yeah. Then you have in app branding. So like <laugh> in the phone. Yeah. But it's all moving now, so
Speaker 2 00:27:52 That's right, right. Here's another, another buck one that they did for Facebook. The Allegria like basically a, a, a system, an identity kind of image softening system. Mm-hmm <affirmative> that just, uh, very illustrative, um, all kinds of usages and really inspired, uh, a lot of other companies and Do the same. Right. Absolutely. Another, um, speaking of Steven Kellerher, he did this, uh, he led this messenger system, uh, rebrand of all the iconography there with really cool stylized, 3d, you know, lots of usage spread across, uh, millions of devices. Yeah.
Speaker 1 00:28:33 And just the use it's like you build a system so that it could be used in any way that they could possibly think of.
Speaker 2 00:28:40 Right. Uh, light mode, dark mode, just like go gorgeous, gorgeous
Speaker 1 00:28:44 Stuff, flat, 3d, all the things. But I'm thinking also about the stuff that 10 did for Microsoft, they kind of synopsize it and this cool, like little film that they put together, but you have to imagine that had like, oh, go Jillian deliverables. <laugh>
Speaker 2 00:28:58 Right. Right. Really beautiful. What about motion as part of like the identity system?
Speaker 1 00:29:03 Hmm. Yeah. Well, we land also since I'm on like a Gretel kick here we land the work that Gretel did for them is just so cool. It's like in, it's like in platform, it's TV, it's broadcast. It's like every, it's all the things, you know, so
Speaker 2 00:29:19 Cool. What about this block and tackle Google project.
Speaker 1 00:29:23 Yeah. I mean, it's hard to not mention Google when you talk about branding. So because they've just done a, such a good job of it and they've kind of, you know, them and Facebook both have kind of brought that, like living <laugh> kind of iconography into like cemented into the lexicon. So same thing with these, you know, kind of clip party illustrations, like super artfully rendered.
Speaker 2 00:29:50 Right. Right. And then we've also got award show packages. Mm-hmm <affirmative> any of those stand out to you? Yeah.
Speaker 1 00:29:55 Well, you know, MTV, like all the different things that they do from the, you know, the music videos, the VMAs, all that stuff. Uh, there's a studio Marose. I think it is. They do a lot for MTV. So I, I really like a bunch of the stuff that they do.
Speaker 2 00:30:13 Yeah. Nice. And of course, when we're talking about branding, we're talking about identity marks and logos logos, right? So logo, animations. Yeah.
Speaker 1 00:30:22 I mean, I, to me like the first one that I could remember, like ever seeing where it really cemented that this is a thing forever, was that MTV moon man with the flag in the ground, they even had like a launch video that actually had like a rocket launching and the whole thing. And literally, anytime you look at a commercial, anytime you look at anything, it has some branding and identity. If it's in social now it's usually up front. So it's like a bump in or something like that. So whatever content there is, there's a book end, <laugh> with a logo kind of experience that is motion and branded. So, so yeah.
Speaker 2 00:31:00 And now with like social, it's interesting. I've seen like the, the shift, sometimes it starts sometimes you open with it. Yeah. Right. And something I I've done for a long time in my, uh, motion branding class, my more advanced motion class is a series of logo animations right. At the start of the class and, and have the students, um, just jump in there, short form three to five seconds and, and really to, to have these kinds of low stakes, but, um, where they can really experiment. But fast, I make 'em do a, a lot of work in a short amount of time and then make decisions and keep them really focused on just animate the mark. Right. Deconstruct it and bring it to life, but make sure it feels on brand. And it's, it's a really good exercise cuz a lot of portfolio potentially portfolio or just piece moments that can work in a, in a demo, real come out of that. And it's, uh, it shows that they, they can kind of be ready to, to work on a, on a production right away. Right. Yeah. Yep.
Speaker 1 00:32:01 Well, I think the thing about that that's wonderful is like for every logo you see animated, like that's one of like 700 versions <laugh> that you've put forth. So the work is mostly disposable until like all the stars align and there's that one that cuts through. Right. And then that probably gets frame fucked to gut, you know? And it usually starts out more complicated and gets simpler and simpler and simpler cuz that's how it goes with logo animations, just actually in working, you know, they just work better if they're simpler. So right. I love that you do that as an exercise with your students because you know, doing like a, a three second thing or a two second thing it's okay. That work is disposable when you're working that quickly on things, as opposed to like when they try and do like a five minute film and you're like, dude, you can't have that in your portfolio anymore. It's out a date. And they're like, but I spent a year on it and it's like, it's over, you shouldn't have spent a year on a, a piece for portfolio when you were sophomore
Speaker 2 00:33:06 <laugh> yeah. You know, all right. Thanks for joining us for this first part of all the things we made. Yeah.
Speaker 1 00:33:13 We were hoping we could squeeze it into one episode, but we make a lot of things.
Speaker 2 00:33:18 <laugh> so many things, things just keep <laugh>. We just keep making them can't
Speaker 1 00:33:24 Stop. And it's only gonna become more because as we know, graphic design should include motion design as like an expertise. So it's literally, everything should be touched by motion designer. So right here we go more next week In two weeks. Cool.
Speaker 2 00:33:44 Thanks.
