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Sleep Meditation for Kids - THE DREAM MAKER - Bedtime Sleep Story for Children

For the live-action sections we composited the motion controlled beauty passes of the product. Lastly we helped realise the logo end device. It was a tight turnaround and we worked closely with the un-flappable Ben Cowel head of 3D at Nexus to deliver the project in a little over three weeks from shoot to delivery.

This story takes us on a journey from browsing the latest cinema listings to directly printing out tickets. Again we travel from the touch screen interface through the evolving digital world to the printed page. Sheldon brought together all the 3D animated elements and with some backup from Mike re-applied the style and grade established in the first commercial. It was beautifully realised by director Anthony Dickenson of Pulse films. It mixes multiple media to deliver the story of Rooney faced with some futuristic and rather menacing target practice.

Of course he takes it in his stride perfectly. Mike supervised the shoot and helped photograph the long exposure shots of Rooney in action which were used in the final cut. We put it together over three short and intense weeks here at Time Based Arts. A really intimate, lovely bunch who went above and beyond attention to detail on every shot, making sure director and creatives were totally happy.

They made the whole process very easy, simple and enjoyable and had everyone filled with total confidence in what they promised to deliver, which was an amazing film. The work looked so good even a competitor remarked how nice it was! Rooney scored the winner we might add! The ride itself is the replacement for the original King Kong Experience that burnt down in the fire that destroyed a huge swath of the Universal back-lot in Here's an in-sight into how we did it. Director: W. American basketball legend Lebron James and captain of the Chinese squad Yao Ming go head to head in a theatrical cultural showdown.

The spot was filmed in LA and because of the extreme height of Yao Ming 7ft 6" it was required that the "diminutive" Lebron James 6ft 8" stood on a box to better frame the live action ending. We spent two months in flame compositing and grading the hundreds of 3D elements. The final wide face-off scene has over passes. In addition we added volumetric lighting, atmosphere and particle systems, designed many of the backgrounds and dealt with the bespoke particle transition to live action. Flame Assist: Mike Aveling. The ad follows Formula1 racing driver Fernando Alonso as he travels through a weird headless community in his Renault Megane.

He looks on in amazement as each character he comes across has a random object for a head. It is revealed that the town is settled on the edge of a forest made up of scissor like trees. Alonso uses the power and handling of the Megane to dodge the sharp blades and safely exit the forest with his neck intact. Confused yet?! Watch and see for yourself. The car was all shot on location in Madrid, painstakingly masked out and skillfully composited into the fully CG scenes.

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The clever 3D team at Nexus designed, animated and rendered the charming characters and environments. It was then down to Mike and Sheldon to bring the whole image together in the Flame. The result is a weird but wonderful watch. Chris Cairns of Partizam directed this great online film for the launch of the Nokia N8.

It was shot on the Phantom camera at high speed to capture the rather nifty handwork. We worked on switching the colour of the handsets throughout, some close cleanup and adding the final screenshots. Anthony spent several long weeks in production perfecting the process of shooting, animating, projecting and reshooting sequences in collaboration with Jess Gorick to create the multi-layered visuals. We helped out with specific grading as well as further animation and effects.

The track is a beauty and it was a pleasure to work on. We were asked to collaborate on a technically demanding sequence for a new feature directed by Alistair Siddons of Partizan, London. We took a camera time-slice and developed it into a second sequence, freezing our hero mid-air as we orbit around him. This pushed the Flame re-timer to the limit and threw up a healthy amount of work removing the resulting artifacts but we think it was worth it in the end.

This mood film for Nike was conceived and directed by the ever creative Saam Farahmand of Partizan London. The tension builds throughout the spot with this rather other-worldly effect.

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It was accomplished by combining reversed high speed phantom footage of the skin under air-jets with real time performance takes of the sportsmen. The audio combines beautifully to create the jarring finale. Chris Cairns of Partizan shot this timely summer Guardian spot. It was a deceptively tricky bit of post in getting the beer and its foam to fall down the glass in a smooth fashion whilst all around changed. It was important to get the balance just right between the jerky but honest nature of stop motion in contrast to the smooth decent of the beer.

It was also one of those jobs that constantly reminded us where we would rather be! Director: James Hutchinson Prod. Director: Simon Crabtree Prod. Shot over the course of a week in South Africa, this spot for car insurance brought together multiple formats from long exposure stills all the way through to super high speed Phantom footage to create one seamless shot. Meanwhile in the mid ground our hero continues his piece-to-camera in real time throughout.

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It required extensive pre-vis and planning and was made possible as it was fully motion controlled using a Milo rig flown out to South Africa with the crew. Mike was on hand to supervise over the course of five windswept nights in Cape Town. Director: Johnny Kelly Prod.

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New Hat of Colour. TBA - work in progress. Grattarola by Southern. Desert rats - BMW shoot. George 'ManOf' Steel.