Veer's Second Fun Font Film Is Out!

"Ready, Typeset, Go!" is the second in a series of retro science films about fonts, from Veer. In this installment, the narrator explains how simple adjustments like font size and technical tricks like kerning can make great fonts look even better.



Learn more about Veer and see the first font film here.

Our Fonts, Our Friends. A Film From the Folks At Veer.

Veer has just released this fun animated short film to market their font selection. "Our Fonts, Our Friends" is the first in a series of retro science films from the stock photo, image, illustration and typeface company. In this installment, the narrator discusses font styles, how to choose your font, and where to find an endless supply of affordable fonts.



Veer is one of my favorite type and image houses for their style, selection, attitude and design. Photography, illustration and all sorts of fonts are available to purchase and download. In addition to a wonderful array of type styles, they offer a few stylish gifts for fontophiles, lots of fun free images, wallpapers, fonts, book and more.



above: Ampersand cufflinks and Font coffee mug are both available online at Veer



Veer

Don't Steal The Jacket. The Film & Posters by Bruce Weber for Fashion Brand Moncler.

"Don't Steal the Jacket," a film by photographer Bruce Weber, is the first episode in a series of promotional films for the fashion house Moncler.



Remo Ruffini of Moncler asked iconic photographer Bruce Weber to make a Moncler movie to be shown during the spring/summer 2012 Milan Fashion shows taking place this week.




“Don’t Steal the Jacket,” which has one minute and 20 seconds of illustrated opening titles like the ones shown above, features several children as well as a dog, reminiscent of Mr. Weber's dogs donning Moncler's jackets for a previously created ad campaign.


above: dogs in Moncler's puffy winter jackets were shot by Bruce Weber for 2010

The New York Times' On The Runway blog is quoted as describing the movie as follows:
Called “Don’t Steal the Jacket,” the black-and-white movie starred an extensive cast of cherubic children, dogs and puffer coats, with typically beautiful visuals and a story line that was a little difficult to follow. At one point, there was a montage of marauding kids, elephants and dogs that was set to “Bless the Beasts and the Children” by the Carpenters.

The film:


As you might expect from a photographer, tons of posters have been created for the film:






Moncler
Bruce Weber

If you're a Moncler puffy jacket fan, be sure to check out Pharrell Williams collection for them:

Pharrell Williams artistic and bionic collection for Moncler

The Largest Stop Motion Animation Set Ever Shot On A Nokia Camera Phone - Gulp.

'Gulp' a one and a half minute long short film created by Sumo Science at Aardman for Nokia, depicts a fisherman going about his daily catch. The advertisement breaks the world record for the 'largest stop-motion animation set', with the largest scene stretching over 11,000 square feet.



Shot on location at Pendine Beach in South Wales, every frame of this stop-motion animation was shot using a Nokia N8, with its 12 megapixel camera and Carl Zeiss optics.

Here’s a film taking you behind the scenes on ‘Gulp’, Aardman’s world record breaking short film. It reveals what went in to making such a complex film outside and away from the controlled environment of a studio, and how it was shot using a Nokia N8:



Animation: aardman.com
Sand artists: sandinyoureye.co.uk
Product: nokia.com/​n8

Lindsay Lohan Strikes A Pose. Make That Many Poses In Richard Phillips' First Film.

above: Film stills from Lindsay Lohan by Richard Phillips

Lindsay Lohan - A Richard Phillips Film, Jul 28th 2011 at The Gagosian Gallery


The press release:
Gagosian Gallery announces Lindsay Lohan, Richard Phillips' first short film. In his 90-second motion portrait of Lindsay Lohan, Phillips draws on the conventions of his painting that explore the legacies of classical portraiture in relation to the mediated representations of contemporary popular culture.

The film depicts Lohan in a number of classical poses, with references to iconic moments in film, such as Brigitte Bardot smoldering in Jean-Luc Godard's Contempt, or the searing psychosexual interplay of Bibi Andersson and Liv Ullman in Ingmar Bergman's Persona. To create a timeless and psychologically charged Hollywood setting, Phillips repurposed a remote Malibu mansion, but freighted it with the speculative desire of contemporary cinematic performance.

Through Phillips's lens, the defiant openness that makes Lohan so compelling on film becomes the ignition key of each image; the pause before action that allows for the identities of actor and director to meld, where expectation and projection contrast with the construction of multilayered identity.

In these full-frame motion portraits of Lohan, Phillips repudiates the cynical expediency associated with the artistic and commercial convention of the screen test by examining and exposing its manipulative and coercive undertones. He thus works to subvert this carefully constructed form, presenting Lohan as released from acutely mediated narrative representation.

"Lindsay has an incredible emotional and physical presence on screen that holds an existential vulnerability, while harnessing the power of the transcendental—the moment in transition. She is able to connect with us past all of our memory and projection, expressing our own inner eminence." -Richard Phillips

Richard Phillips’ Lindsay Lohan will be included in Commercial Break, presented by the Garage Center for Contemporary Culture in Venice, June 1 - 5, concurrent with the 54th Biennale di Venezia.

Credits:
Directed by: Richard Phillips and Taylor Steele
Director of Photography: Todd Heater
Costume Designer: Ellen Mirojnick
Creative Director: Dominic Sidhu
Art Director: Kyra Griffin
Editor: Haines Hall
Color mastering: Pascal Dangin for Boxmotion
Second Director of Photography: Alejandro Berger
Directors’ Assistant: Katerina Llanes
Wardrobe Stylist: Ira Hammons-Glass
Hair Stylist: Aaron Light
Make Up Stylist: Mylah Morales
Photographer: Christelle De Castro
Photographer's Assistant: Gregory Brouillette
Music: Tamaryn and Rex John Shelverton
Production: GE Projects
Typeface(s): Jean-Luc by Atelier Carvalho Bernau

Richard Phillips would like to thank Lindsay Lohan, Eleanore Lieven, Melissa Lazarov, John Good, Natalia Bonifacci, Doug Aitken, Aimee Walleston, Michelle Finocchi, Ania Diakoff, Patrik Sandberg, Chrisitian Kaemmerling and Group Lotus, Lynne Mannino at Spotwelders, Nadia Sadigianis at Box Studios, Jess Rotter at Mexican Summer, Mark Mayer, Celestine Agency, MILK Studios, Chateau Marmont, and Gagosian Gallery. Special thanks to Josephine Meckseper.

View more videos from "Commercial Break," presented by the Garage Center for Contemporary Culture: www.commercialbreak.org

The Beauty of Table Tennis. Literally and Figuratively. Meet Sooyeon Lee.

Filmmaker and photographer Matthew Donaldson filmed model/actress and professional Korean Table Tennis champ Sooyeon Lee in a slow motion homage to both sport and fashion. The skilled and sexy Sooyeon is wearing fashions by Versace, Jil Sander, Christopher Kane, Mark Fast, and Christian Louboutin as she skillfully demonstrates her Ping Pong prowess in the one minute and 48 second film created for Nowness.



Designer Geraldine Chevrolet was commissioned by stylist Katie Shillingford to create the bespoke fringed tights, gloves and hat that are paired with the couture.



Tennis Table champ Sooyeon Lee serves as an Ambassador for actress Susan Sarandon's SPiN, a chain of ping-pong clubs which counts Lee as its ambassador and has locations in New York, Toronto and Hollywood. "It's become very trendy," Lee observes. "It's sociable, you don't need to be super athletic and it's good for the brain."




A clip of Sooyeon Lee from the Killerspin championships:


And a few of her modeling photos:




Nowness
Sooyeon Lee

Interactive Movie For Range Rover Evoque, Being Henry, Emphasizes Choices.

A new branded entertainment effort from The Brooklyn Brothers for Land Rover has you, the viewer, involved in determining the outcome of a movie, which, in turn, dictates the options on a new Range Rover Evoque.



The latest marketing effort is an interactive love-fantasy-comedy movie in which you determine what the main character, Henry, does. As you make choices for Henry, you are simultaneously personalizing your version of the new Range Rover Evoque. There are several routes you can take that feature everything from kidnapping to flirtations.

At the end of the film, whose outcome you have manipulated, you are matched with a particular version of the Evoque that was determined by the choices you made for Henry:



The short interactive film was directed by Somesuch & Co.'s Nick Gordon, and is all about choices, emphasizing the options you have when designing your own vehicle from Land Rover. It's a bit of reach, but entertaining, nonetheless.

The trailer for the interactive film:

Stills from the film:

You choose the direction in which Henry walks, changing the outcome:



Interact with Being Henry here

The brand also has an online project called "The Pulse of the City" in which you can listen to various "city shapers" talk about their cities and can view their personalized Evoque. A profile accompanied by a photo and bio allows you to view that person's journey through different international cities like New York, Madrid and Istanbul, to name a few.



You can upload your own journey here

Other attempts to get people engaged with the brand include their GPS art created with an app to create a geo-location map and share it on Facebook if you wish as well as their "Presence Project"

Range Rover

Modernista & Shilo Ask You To Answer An SOS With A Touching & Clever Short Film

The filmmakers from U.S. creative production company Shilo are very proud to detail their latest project. Working in association with advertising agency Modernista, Shilo engaged Cassidy Gearhart to direct "SOS: Save Our Supplies," a visually poetic, live-action, 1:52 short film that is a central piece in the agency's cross-media campaign for the Brooklyn-based non-profit Doc to Dock, Inc. The film recently went live earlier on the new website created by Modernista at www.doc2dock.org.



"Doc to Dock was started in 2005 by Dr. Bruce Charash as a commitment to the Clinton Global Initiative," said Gary Koepke, Modernista's co-founder and executive creative director. "Essentially, the organization collects unused medical supplies through its network of medical professionals and volunteers, then they sort, ship and redistribute the supplies and equipment -- enough to fill over 25 40-foot shipping containers so far -- to meet the specific needs of hospitals in the developing world. So far, this organization has brought hope and care to more than two million people while simultaneously reducing waste in the U.S., and we have crafted our new campaign to raise awareness and advance their cause. For this important short film, we turned to Shilo, which is well known for producing deep and incredibly thoughtful visual messages that leverage and unite all cinematic crafts. To say the least, we are all incredibly proud of the finished film."

To respond to the ideas presented by Koepke, Modernista's creative directors Will Uronis and Davi Liu, copywriter Lorelei Bandrovschi, and director of production Liz Shook, Shilo called upon Gearhart, whose first collaboration with Shilo's co-founder, creative director and director Andre Stringer was the hip hop documentary "Open Transport" released in 2000. The two worked very closely together at B.E.T., and over the years, Gearhart has contributed his talents to many major Shilo projects as a director, editor and artist.






"The Doc to Dock project's script called for very graphic live-action shots, and great art direction," said Shilo's executive producer Tracy Chandler. "We knew that Cass was the right director for this job because of his strong graphic, live-action sensibility, and also because he really knows type design well."

In the agency's original "SOS" script, powerful words are written on supply boxes, where those boxes fill up a shipping container using stop-motion animation, and in the process, tell Doc to Dock's story and convey its call-to-action. "After reading that great script," Gearhart explained, "I fell in love with the idea of interpreting the film as a visual voice-over, where we could use live-action cinematography of the boxes to present a unique type-treatment and storytelling approach."

To heighten viewers' emotional connections to the story, Gearhart proposed showing some human hands at work moving the boxes, and also, visually setting apart the script's two separate sections. "As our ideas for the production took form, those changes allowed us to set all the action for 'the problem' section in a warehouse, then set 'the solution' section inside the actual shipping container."

Throughout the development phase, the designs on the boxes became another key focus. Together, everyone decided those designs should be consistent with real-world shipping graphics. "The style of packing labels, stickers, marker writing, and the type of printing you normally see on boxes made us immediately think of the work of Mike Cina, an accomplished typeface designer well-versed in grid-based graphic design," said Gearhart. To the group's delight, Cina signed on to provide art direction for all the shipping box graphics.

The project's detailed prep-work also involved a full two weeks of pre-production, where Gearhart first produced a "word-o-matic" (an edit of the script's messaging timed to music), and from there, storyboards and a detailed previs. To dial-in the timing and message composition for the time-lapse sequences showing the walls of boxes being built, Gearhart, Julian King, and Shilo producer Jeremy Yaches rehearsed and captured numerous takes in Shilo's studio.

When production day finally arrived, the crew assembled on a set built inside a Brooklyn warehouse. Gathered together along with 120 custom-made boxes, another 100 "extra" boxes, a 40-foot Doc to Dock shipping container sent in from New Jersey, and their on-camera talent while an intense blizzard raged outside, Shilo's crew captured their principal photography using the RED MX camera system. Time-lapse footage was shot using a Canon 5D.

"One of the shots that came out of all our pre-production testing was the container door closing shot," Gearhart added. "We came up with the idea of rigging the camera to the door so that the camera tracks with the door as it slams shut. In the end, we felt it was perfect for bringing our message home with a bang."



Credits:
Client: Doc to Dock, Inc.
Advertising Agency: Modernista
Executive Creative Director: Gary Koepke
Creative Director: Will Uronis
Creative Director: Davi Liu
Copywriter: Lorelei Bandrovschi
Director of Production: Liz Shook

Production Company: Shilo
Director: Cassidy Gearhart
Co-Director: Julian King
Director of Photography: Tristan Sheridan
Production Designer: Jeff Everett
Box Art Direction and Design: Mike Cina
Editor: Julian King & Cassidy Gearhart
Color Correction: Julian King
Executive Producer: Tracy Chandler
Producer: Jeremy Yaches
Music: Zoe Keating "Optimist"
Sound Design/Mix: Mike Secher, Soundtrack


About Shilo
Shilo is an Emmy Award-winning creative production company representing a group of filmmakers led by directors Jose Gomez and Andre Stringer. Internationally known for creating original and commissioned work that is powerful, provocative and visually extraordinary, Shilo's deeply held passions for design-infused storytelling and their innovative applications of live-action, design, and animation techniques deliver breakthrough experiences for screens large and small. From its studios in New York and California, where recent projects have spanned short films, commercials and music videos, Shilo has the capacity and experience to originate ideas and handle all aspects of production. Shilo published its first book, We Make It Good, in 2007, and also also curates and produces content for the blog www.WeMakeItGood.com. Their sibling company WMIG is a creative think tank offering services in ideation, writing, and art direction. For more information, or to request a reel, please contact Tracy Chandler at +1.212.219.4700, or visit Shilo online at www.shilo.tv.