We travel through the Norwood logo, which is made up of thousands of photos of people Norwood has helped until we settle on the opening frame of the film. The video above shows the reverse.

I built the animation in Cinema 4D utilising the powerful Mograph module. I then composited the renders in After Effects.

The Annual Dinner, attended by celebrity VIPs and guest speaker Mayor of London, Boris Johnson, began with this film (after a 60 second visual countdown). It was important to keep the messaging clear and legible but maintain interest.

I broke the script down into sections and storyboarded them using Cinema 4D. Joel Mishcon (Producer) and I had previously discussed ideas and I was able to quickly visualise them using the Mograph module. I also used Sketch and Toon for some sections and composited the renders in After Effects.

The evening was a great success and raised £2.8million.

Mine is the wide Manhattan shot towards the end which involved comping various elements in After Effects and using Cinema 4D to render the ‘X’ into the shot.

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I’ve also created a Facebook page as another place to share my tutorials and motion experiments. It’s early stages in the Facebook page development and I’m in the process of refining the look and feel of the page.

In addition to their home on Vimeo, I may add the tutorials to the main site too.

More updates to come including new projects from some fantastic new clients.

I helped create the opening transition and the paint explosion effects you see at the end of the video.

For the paint explosions, I began by developing a particle system in Cinema 4D but due to time constraints I opted to create essentially a paint bomb which would be comped with particles created in After Effects by compositor, Gus Martinez.

I built a system that could be tested in a proxy environment and then Gus could tell me where he wanted the bombs to be placed. Using XPresso I built a rig to allow for control over the amount of explosion, the shape of bomb and how much it was effected by gravity.

The simulation reacted with the surfaces of the camera matched plate and provided another texture and a level of detail that we couldn’t achieve with Particular alone.

This is a self initiated project exploring sound-driven particle animation. Admittedly it’s not 100% original in terms of concept, and there are a similar examples out there but I really enjoyed the process.

I’ve layered multiple emitters reacting to different parts of the audio and worked on getting a volumetric, organic result; the particles even look like some sort of alien fish at times.

I’ll remember Steve Jobs as a passionate creator of mechanical objects I found myself caring about. He has touched the lives of many and will continue to do so.

Rest in peace, Steve.

Ericsson also required a 180 degree panoramic version to be shown in the Ericsson Studio in Stockholm and I had the pleasure of working at The Mill in London on this version of the film.

Working with a very talented team of motion graphics artists, the process involved modifying particle effects, and repositioning the ‘Intelligent Information’ graphics for each shot. Sometimes this also meant re-rotoscoping new elements.