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Tag Archives: animation
For Halloween, the extra cool crew at Cartoon Network invited us to make a glob of promos for eight of their shows. Mixing series characters with Halloween themes, the girls and guys at Cartoon Network afforded us a ton of creative freedom in the short production timeline while still keeping things locked to a cyan, magenta, and yellow color palette. In about 30 days, we designed and animated 16 bumps in total, a :10 and a :05 for each show, including a Halloween themed menu template which would be editable and customizable for other network use.
Each piece varies in spook level and fright factor with play on Halloween themes to tie to character attributes and show ideas or storyline.
Bumps were made for Adventure Time, Regular Show, Uncle Grandpa, The Looney Tunes Show, MAD, Annoying Orange, Ben 10 Omniverse, and The Amazing World of Gumball plus the menus.
*Extra super secret Impactist production factoid: Uncle Grandpa Premiered as a series during this time, so we communicated only using the phrase “Good Morning” during these weeks, regardless of time of day and for anything that need be said. Good Morning. Good Morning. Good Morning. He’s our Uncle, and our Grandpa.
For the winter holiday season, we continued making promos for the same Cartoon Network shows, but added in the new series Steven Universe. He turns his fingers into cats, so you know we’re instant fans. Meow.
The winter promos follow a tighter visual structure, with a rolling and accumulating snowball initiating movement through each piece. Though, characters and story quickly divert the ball in ways specific to each series to make each piece unique and discoverable in repeat viewings.
Again, we produced two spots for each show, a :10 and a :05, and also a menu template customizable to introduce upcoming shows in the day’s schedule and other use.
Individual bumps were made for Adventure Time, Regular Show, Uncle Grandpa, The Looney Tunes Show, MAD, Annoying Orange, Ben 10 Omniverse, The Amazing World of Gumball, and Steven Universe plus the menus.
Now, nobody sane watches TV with the sound on mute. At least, nobody we’d want to hang with. That’s cray. So, we also created a electro-peppermint tinged music track called “Wintertone” to pair with the winter promos. Nine edits of varied length and composition were delivered to afford Cartoon Network maximum flexibility and use even beyond these specific animated bumps. We think this track is shaking it just right for the holidays. Because shaking it’s all we know.
Now, we can’t lie. We love a challenge and this one was certainly up there: 36 total pieces with 9 tracks of audio in the production timeline we worked in was a test at times. But, we couldn’t be happier to work with the awesome gang at Cartoon Network.
A little ways back, the awesome crew at Cartoon Network reached out and offered us an amazing opportunity to create music for their network summer refresh. Fantastic to work with, the team at CN gave us full creative freedom to develop new sounds for them in our own style.
The end result was two frenetic tracks, “Glazer” and “Wires”, complete with ten additional edits of shorter lengths for use throughout the network in a variety of bumpers and on-air promotions. As a fun bonus, we also put together numerous mnemonic jingles heard when the CN logo spins at the end of promos which ranged from expected to downright strange.
If that weren’t enough fun for us, beyond the music, we were also invited to participate in a collaborative animation with five other fantastic studios/artists from around the world. A 60 second version of “Wires” serves as the framework from which we all worked, one piece leading into the next, showcasing the characters of Cartoon Network. Our only restriction being the CMY palette, we were all let loose to create what we feel resulted an amazingly strong piece where the picture perfectly compliments the music and vice versa.
Each studio/artist created ten seconds of animation which would flow from what came before and after their sequence. The order of authors in the piece is Alex Grigg (England), Eamonn O’Neill (England), Impactist (US), CRCR (France), Rubber House (Australia), and Awesome Inc. (US).
Our animated section takes place from :20 to :30 and because of our music involvement with the piece we chose to incorporate little Gunter playing the keys while Bloxx transforms his iceberg into a supersonic-superstar dj space booth.
For the last few years, we’ve made note of the quality of clients we have had the pleasure to work with and Cartoon Network is no exception. This project was nothing but positive and we really enjoyed our time working with their team in Atlanta.
Go Gunter and Go Cartoon Network!
Once again, it’s that time of year when our appetite for twisted tales between best friends, man and dog, can only be satiated by a weekly dose of Wilfred on FX. The always fantastic team at FX was kind enough to ask us to expand upon the animated graphic package ideas we had already delivered last year for Wilfred’s inaugural season.
This season’s sequences employed a similar color palette, textured feel, and staccato character animation style of last year’s package while showcasing Wilfred’s sometimes indignant, yet always incorrigibly canine attitude towards his friend Ryan.
We delivered a handful of scenarios for season two we dubbed “Super Bone”, “Fetch”, “Laser”, “Rug”, and “Flirt”. These ranged from harmless to humping. Each scenario was built to exist as a stand alone piece, while the delivery of isolated animated elements gives FX future flexibility to build new promotions using these components.
It’s always a pleasure to have the opportunity to develop content for projects that you are an honest fan of. Wilfred on FX is one of those projects.
You’ll never look at a rug the same way again.
Promo for the track “Planting Seeds (Original Sketch)” off of our Plants & Animals EP.
Promo for the track “East (Original Sketch)” off of our Plants & Animals EP.
Promo for the track “Summer Song All Winter Long” off of our Plants & Animals EP.
To promote the new FX series “Wilfred”, starring Elijah Wood and Jason Gann, the team at FX Networks approached us to work with them to create a toolkit for use in broadcast, web, and print. A variety of titles, character designs, and graphic styles were developed over the course of our collaboration resulting in a decidedly low-fi look that could be easily carried over to various media.
The show centers on Wilfred, the new hot neighbor’s dog who appears to Wood’s character as a sociopathic man-dog in a grey furry suit, but as a normal dog to his owner and everyone else. Wilfred’s motives are that of a dog protective of his owner while also possessing the sensibilties of a loafing, beer drinking, pot smoking, oversexed male. During our time with FX, we explored extremely crude and coarse narratives taking cues from Wilfred’s unique character traits along with softer, more innocent canine conventions.
We delivered four final animated sequences in addition to high resolution elements for print usage. These projects were created using sequentially cut paper shapes, hand drawn titles and illustrations using pencil and ink, and photographed charcoal and eraser textures all later combined in the computer.
As this project was a toolkit of elements intended to be combined with other show materials, we compiled a short montage which includes the final animations and glimpses behind the scenes of our process during our collaboration with the fantastic team at FX Networks.
Be sure and check out the “Wilfred” series premiere tonight at 10pm (June 23). Like Spencer Tracy said, “There’s no such thing as a bad dog.” Well, except maybe Wilfred.
Link to QuickTime Version and Stills
Montage Audio Track: “Salvo” by Impactist
Audio Track: “L.N.G. (AOTS Remix)” by Impactist.
Link to QuickTime Version and Stills.
A while ago, G4 kindly asked us to whip up something special for the 1/11/11 reboot of their daily digest of culture and cool, Attack of the Show! Or as its known to those long hip to this daily detonation of meta-meme-messaging, simply AOTS. The G4 team was keen on elements they saw in an earlier sequence of sight and sound we had created, so we reassessed, extended, and remixed fresh live action, still photography, and animation into a new main title sequence. Additionally, we composed a new full length music track that drives the new intro and plays into the show.
The dynamic sequence serves as a striking non sequitur from what precedes it with staccato sounds and images dripping with self referential visuals only fully observed via repeat viewings.
AOTS has an incredibly intense and outspoken fan base, so the team at G4 had the incredibly tough task of making adjustments to a program that is under such extreme scrutiny. New set, new host, new show, new awesome. G4 was fantastic to work with and we appreciate the opportunity to contribute to a program that has rightly earned itself a dedicated audience that can dole out both fierce affection and loyal criticism.