Leaving this Blogspot behind:(

I have moved my up-to-date bloggings to Tumblr. I'm going to leave the blog up because it has a lot of old behind-the-scenes work that I don't want to delete. But if you're wondering what I'm up to currently, check out my Tumblr:

cameronfoxly.tumblr.com

Thanks!

New Video!: Faces on Film - "The Rule"

Last month, Carlos Lopez Estrada tapped to me fill this video with 2D animated fire and water. Check it out! (It gets best around 2 minutes in when the water starts showing up...):




Big thanks for to the nice people at Vimeo for selecting it as a Staff Pick, and to IMVDb.com for picking it for a video of the week. They even went as far as interviewing me for their podcast that came out today! Take a listen:

Science of Love TItle Sequence

Mike Bernstein tapped me to do a title sequence for his new webseries for SoulPancake! called "Science of Love." I had fun re-purposing the design from our previous project together, "Science of Happiness," just in time for Valentine's Day!

So much feels! Check it out!

New Showreel!

I finally cut a new reel! Lots of fun things to see! Check it out!

Young The Giant's "Crystallized" Music Video VFX

I recently got a chance to create some fun spacey visual effects for Young the Giant's video for "Crystallized." Check it out:




The video was directed by the talented Mr. Elliot Sellers and produced by Doomsday who came to me to help create some meteors flying through space. I really wanted to do as much as we could with physical effects and miniatures rather than relying on CG work to make the meteors and dust, and I think it paid off. We spent a couple days in a studio with a Red Epic and some homemade meteors (they were made of carved and painted Expanding Foam from Home Depot, designed and fabricated by Elaine Carey) and got some great footage. Then I took the footage into After Effects and added in some space and star elements to give the space a feeling of, well, space.

Check out a little sample of how some of the footage looked on set and before I added the effects to get some idea of the process:

Mattel Internal Videos

Mattel - Quality (animation) from Cameron Clark on Vimeo.


Mattel - APQP Internal Video from Cameron Clark on Vimeo.

Mattel Global Supply Chain Video from Cameron Clark on Vimeo.

DREAM Act Animation

I recently did the animation and compositing for a video in support of the DREAM Act, which aims to provide a path to permanent legal residency for foreign students currently in the country illegally that were brought to The U.S. before they were old enough to make the decision to immigrate on their own. This is a small piece of a large project directed by Davis Guggenheim (Inconvenient Truth, Waiting for Superman) called The Dream is Now. It's a good cause (unless, I guess, if you're a racist) and I got to do some fun animation. Check it out:

New Music Video for Passion Pit (and Tiesto)!

Last summer I was tapped by director Carlos Lopez Estrada to head the visual effects for a new music video for a Tiesto remix of a Passion Pit song. And being on the super cheap, we all ended up starring in it. (I'm the one with the beard). Check it out!:


Passion Pit- "Carried Away" (Tiësto Remix) from Carlos Lopez Estrada on Vimeo.

FUN FACT: We were originally commissioned by Dan Deacon to create this video. But when we delivered it, even though it was exactly what Carlos had written into the treatment, Dan Deacon and/or his label deemed it "too drugged out." They were concerned about Dan Deacon's image. Which is hilarious because EVERYONE that listens to Dan Deacon loves drugs. Looooooves 'em.

But, so, we scrapped the video and Carlos's rep pulled the business savvy move of selling the footage to Passion Pit/Tiesto, which we recut and released the way you see it now. I'm a little disappointed because I absolutely adore Dan Deacon and would have loved to have had my name attached to one of his videos, but honestly, I think that the mood really does matches this song better. C'est la vie. Such is the music business....

And if that tickled you in the right way, check out the equally strange behind the scenes:



PEOPLE FALLING from Carlos Lopez Estrada on Vimeo.

Man, that's a lot of falling down. And a whoooooooole lot of rotoscoping....



If you want to learn even more about the production, check out this nice little interview with Carlos.

New Animation and Visual Effects Reel!

Animation and VFX Reel - January 2013 from Cameron Clark on Vimeo.

Big thanks to Pascal De Maria for his ninja cutting skills.

Stop Motion Title Sequence for Oprah and Rainn Wilson's new show SoulPancake!

Earlier this year, I was commissioned by Rainn Wilson's company, SoulPancake, to create the stop motion title sequence for the pilot of their new TV show of the same name to be aired on OWN. The sneak peak above has the intro in its entirety, but is played at the end. (The stop motion "Love" at the beginning was made by the talented Kristen Lapore)

The title sequence was shot over two days with about a weeks worth of prep and the help of a very talented group of young artists (full credits below). Other than the sky and the banner at the end, everything was done practically, with a stage that could rotate both rolling log and lazy susan-style, so that we could get both the moving world and rotating camera effects with a locked-off camera and set pieces. To keep our process economical and precise, we created in After Effects a pre-vis animation that would output exactly how much we needed to rotate the stage each frame, as well as what frame each of the paper cutout people would end up being on. To get a sense of that process, here's a little breakdown:

Full Credits:

Animation Director: Cameron Clark
Production Design: Tyler Jensen
Animator: Charles Pieper
Stage Design/Fab: Richard Hilgner
Set Fabricator: Michelle Mace
Photography: Moonie O'Moony
Live Action DP: Mishka Kornai
Art Department: Ntsikelelo McCall
                           Sarah Lawson
                           Dani Cong
                           Riley Gallagher
                           Nicole Case