Do you ever wonder how many people actually work in the Motion Graphic Design business? Read more about this at motiongraphicdesigncensus.org.
The 2010 Motion Graphic Design Census is available for download here.

Bioshock Infinite from Level Up Video Games on Vimeo.

Bioshock Infinite Game Trailer Made by Blur Studio
Since 1995, Blur Studio has been creating award-winning visual effects, animation and design, applying its creative skills across various mediums.
See more about there work.
http://vz2.blur.com/work/detail/bioshock-#movies/1

In 2002 Steven Spielberg asked Kuntzel and Deygas to create the opening title sequence for the movie “catch me if you can”. The design and the movement of typography were so unique and fresh, that this title sequence became one of the most mythical opening title sequences for the large screen.

In 2006 KLM came out with an advertising campaign in print as well as motion and this week expedia.nl released their new TV commercial. Both are inspired by this phenomenal title sequence.

As a motion designer you want to make a difference, like Kuntzel and Deygas. Copying someone else’s work will only give you a chance to become as good as the one you’re copying, that’s the best-case scenario. A copy will usually never be as good as the original because it always remains one step behind. Even worse, it will end up as a look alike or a cheap imitation. This is not really truth.!!!!!!!!

It’s not about copying a design, you must steal it. !!!
Let me explain.

Good artists copy, great artists steal “Pablo Picasso”

When you look at an inspirational design you should be inspired. You must take your time to examine its aesthetic and construction in detail. Find out how the creator did it and extract the essence of what makes this work great. To steal a design you must collect all the pieces of the puzzle and figure out how it all works as a whole.

Why did the artist use those colors, why these lines, why that typeface?

If you stealing a design you must be able to digest and absorb the essence of an inspirational design.
Stealing gives you the real gold. It gives you the knowledge how to create the work in question. Expand your arsenal of design techniques through learning instead of copying.

Once you’ve assimilated the principles and ideas employed by a designer of his great piece, you can use those ideas in your own work. You want, no you will not going to copy them again.

You will instead use these tools only where they make sense, and only where they will work well.
That’s because you understand exactly why they were employed in the first place.

Being inspired is a good thing, and being able to take advantage of those ideas, build on them further with your own twist and perspective will produce great results.
But there are still artists out there, who don’t know this math.

To copy others is necessary, but to copy oneself is pathetic “Pablo Picasso”

VIV Mag Featurette: A Digital Magazine Motion Cover and Feature for the iPad from Alexx Henry on Vimeo.

Cover design will be the next step for motiondesigner. With the possibilities of tablet devices there will be a brand new shape for digital content. VIV Magazine launched it in one of there magazines together with co-directors Cory Strassburger and Ming Hsiung. I hope that publisher finally see, that motiondesign will be the key for future experience.

Money Money Money - "Gettin' Money With a Mouse and a Wacom Pen (Fuck Comic Sans Fuck Papyrus, Too)" from Brad Chmielewski on Vimeo.

A brilliant explanation for people to understand what i do. Daily Planet Productions ltd made a motion-graphic about are field.
Great Job guys.

instrumental video nine from beeple on Vimeo.

Beeple is Mike Winkelmann. Mike Winkelmann is currently a graphic designer living and working in Appleton, Wisconsin, USA. He has released a number of experimental digital short films under the name Beeple. His work has screened at onedotzero, Siggraph, Ann Arbor Film Festival, Chicago Underground Film Festival, Optronica, dotMOV, Visual Music Marathon, and many more. He also performs live visuals for a variety of bands including Minneapolis-based NOBOT.

Watch his movie channel on vimeo here
Or visit his website with a amazing work

A new brand identity for a Transit Corporation in Montreal the STM (Société de transport de Montréal) done by Sid Lee The campaign includes daily print, online and cinema advertising. The animation was made by sijauraissu and the website by Sid Lee and Hue web studio. Take a look at “societyinmotion.org”

read more

Bas Dumoulin, a motion designer, has made a beautiful master piece for Global-Arena.com.

“during my last days at LBi Amsterdam i work on Global-Arena.com , the animation was made entirely in Cinema4D and put together in After Effects.”

A video for Herman Miller created by Fairly Painless Advertising.

Hellmann’s - It’s Time for Real from CRUSH on Vimeo.

Agency is Ogilvy, Toronto

The Crisis of Credit Visualized from Jonathan Jarvis on Vimeo.

see more

Een met lof ontvangen animatiefilm schudt Israëls geweten op voor zijn aandeel in de beruchte slachting van Palestijnen in 1982. Tot voor kort wist bijna niemand in Israël welke rol het leger heeft gespeeld bij de beruchte slachting in 1982 van Palestijnse burgers in de Sabra en Shatila vluchtelingenkampen van Beiroet. Maar dankzij Ari Folmans film Waltz With Bashir weet iedereen het: het waren de lichtpijlen van de Israëliërs die de nachtelijke hemel van Beiroet wit deden oplichten zodat Libanese christelijke milities bloedig konden toeslaan. De langzaam dalende lichtpijlen boven Beiroet zijn het terugkerende thema van Folmans animatiefilm, die als 19-jarige soldaat zelf de pijlen afvuurde. De film heeft de discussie over Israëls aandeel nieuw leven ingeblazen. De invasie was opgezet door Ariel Sharon, toen minister van Defensie, in een poging de raketbeschietingen van de PLO te stoppen. Centraal in de discussie staat Israëls medeverantwoordelijkheid voor de dood van 700 tot 3.000 Palestijnen. Folman zegt dat hij, toen hij de lichtpijlen afschoot, geen idee had van de slachting. De moorden bleken het antwoord van falangistische milities die hun kort ervoor vermoorde leider Bashir Gemayel wreekten. Gemayel, de pas gekozen president van Libanon en leider van de Kataeb Sociaaldemocratische Partij, kwam om het leven in een bomaanslag die onterecht werd toegeschreven aan de Palestijnen. In 1983 vond een Israëlische onderzoekscommissie dat Sharon ‘persoonlijke verantwoordelijkheid’ droeg door geen rekening te houden met het dreigende gevaar van rancuneuze Kataeb-falangististen. Sharon, nog altijd in coma door een beroerte in 2006, moest in 1983 aftreden. De getekende versie van Sharon heeft een klein rolletje. Terwijl hij een steak en eieren verslindt, hangt hij aan de telefoon met de Israëlische premier Menachem Begin en de commandant ter plaatse in Libanon. Volgens Raanan Gissin, voormalig woordvoerder van Sharon, klopt dat beeld niet. ‘Hij heeft nooit orders gegeven terwijl hij zat te eten.’ Volgens Gissin draagt Israël geen verantwoordelijkheid. Het is ‘waarschijnlijk een Syrische samenzwering’. Regisseur Folman heeft maar één doel: hij hoopt dat de film jongeren ervan weerhoudt in oorlog te gaan: ‘Mijn film laat zien hoe stom oorlogen zijn en hoe nutteloos het idee ervan is. Er schuilt geen eer in oorlog, geen heldendom, niets. In tegenstelling tot Amerikaanse anti-oorlogfilms, waar de mannen zo cool zijn.’

De film draait al in Nederland.

BRON – DE PERS
PRESSKIT

ShanachieTour Down Under: Trailer from Jaap van de Geer on Vimeo.

This motion piece i have made with aftereffects and photoshop. In Apple Soundtrack i did some sounddesign and put all together. I hope you will enjoy it. Read more about the ShanachieTour

Robert Hodgin (flight404) ; “My main uses for Processing are in the realm of audio visualization. I have made many videos using only Processing with no post production or editing after the fact. This is a bragging point only… it would certainly be more effective to render out a bunch of shorter videos and then piece them together in AE or something similar. But I get great joy out of knowing that I can hit PLAY, walk away for a bit, play some GTA IV, then come back to find a finished piece that has enough randomness built in that when I view it, I feel I am viewing something totally unique and were I to press PLAY again, the next version would be different.”

Robert Hodgin is using Processing for personal entertainment, but he was also involved in the interactive projection wall NextFest Grass Wall by The Barbarian Group and flight404. see this video

The purpose of the installation was to promote the new Saturn hybrid cars. The concept was simple enough: 45 feet of grass swaying in a virtual breeze. Visitors to the installation can make the grass sway just by walking in front of it. Additionally, visitors can input text from either of the two kiosks positioned in front of the screen. This text appears in the projection attached to its own grass blade and sways along with the rest of the scene.

A nice Info-graphic by Superfad for Sprint. Animations and the Art Directions are well done. Just sweet and lovely too see. This animation is part of a series, if you want to see more, just search on google video or youtube

Another one of the serie

Name : Masayuki Kido
Website : http://roxik.com

Joost van den bosch van ka-ching cartoons heeft zijn skills weer eens op de proef gesteld. Een complete 3d flim gemaakt met CS3. Helaas is er nog geen download mogelijk van de film.
Joost doe daar eens iets aan. !!!!

Joost; ” Moet iedereeen wel een brilletje thuis hebben

This site brings you a lot of info about title sequence design. You can watch the videos in different formats, so quality is garanty.
Indents.tv

Or watch it in itunes

Pulp Fiction in Typography By Jarratt Moody.

DEVIL’S ADVOCATE in typography

Kill Bill in Typography

Gotye- Hearts A Mess from Gotye on Vimeo.

Gotye – Hearts a mess, a briljant videoclip, animator and film dir by Brendan Cook

Gotye-Hearts a mess High Quicktime Version

Backup Url’s
myspacetv
dailymotion