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Mike Skrgatic Flame: Andre Dias, Leandro Vasquez Smoke: Peanut Design: Sylvie Minois Production: Prod Co.: Partizan Director: Chris Cairns Producer: Jason Oakley Offline: Stephen Grasso Nuke: Mike Aveling Grade: The task? To create a magical winter landscape in which to show off the best output that More4 had to offer over the festive season. Using over 40 indvidual scans, each of them generating a point cloud with over 4.
At the same time we grabbed stills of the mountain landscapes, and were even lucky enough to capture the Northern lights in all their glory. Once back in from the cold, the team at TBA created an animated camera that Scanlab then rendered using their proprietry software. All these elements were then combined in Flame and were composited over our photographic night skies. Some beautiful bespoke snow animation brought everything together.
Merry Christmas! More Soon Elements shoot: Matt Day SFX: Andy Gent Sound Design: Mike Skrgatic Smoke: Time Based Arts Production: Rocketcars, rocketmen, futuristic cities with racing trikes, sonic trains, centrifuges and of course the new VW Golf GTE…. Working closely with Thomas and our long trusted concept artist Sylvie Minois we researched and refined looks for each of the vehicles. At the same time the surrounding environments were considered, whilst also building a detailed pre-vis as we went.
The edit was quick, much like the vehicles themselves, so timing was crucial. The concept designs fed into the Art department, who created some incredible pieces for the shoot - LED biker suits, rocket wings, cockpits and train cabins to name a few. All of these elements combined to shoot over three studio days in Prague. Using a combination of matte painting, fluids, particles, cloth, photogrammetry and just about every 2D tool there is, work began combining the shot material with their environments. Thanks to a clear vision from Thomas, and the foundations laid in the pre-vis, we were able to move through a tight six week schedule smoothly.
There was also a host of invisible work required, from scaling down the Rocketcar drivers crash helmet to adding CG visors in all the close ups. The guys at Ten24 created a full degree scan of the rocketman's suit, this allowed us to add in some flapping cloth and other details…. Most of what you see in this spot was created at TBA from scratch, from the Icelandic inspired canyons to the future city race track. Barry Dyer Creative Directors: Chris Bovill, John Allison Producer: Mike Battcock Flame: Grey London Client: Lucozade Creative Director: Darren Wright Creatives: Rebecca Pople Director: Chris Cairns Production Company: Ben Todd 3D Scan: Oscar Gonzalez Diez Concept Design: Sylvie Minois Flare: Matt Shires Smoke: Eric Mootz mootzoid.
Three Prod. Hungryman Prod. Company Producer: Jack Beardsley Director: Ric Cantor Agency: Michelle Brough Creative Director: Scott Dungate Creatives: Tony Peterson Films Director: Carlo Walther Production Company Producer: Sylvie Minois Graphic Design: Joe Prince Line Producer: Chris Aliano Exec Prod: James Allen Grade: Anthony Dickenson Producer: Tamara Harel-Cohen Production Company: Pulse Films Editor: Prince Yiadom Smoke: A parody of the "Lord of The Rings" style epic quest movie, we follow five household objects as they traverse suburban obstacles in search of their own holy grail, a Talk Talk TV household.
They brave deserts, jungles, mountains and oceans in reality the more humble obstacles created by sandpits, hedgerows, roadworks and ponds. Nexus completed all of the character design and animation in house and asked us to lead the compositing, digital matte painting and grade. There was some quite extreme vfx transformations needed to take the footage, shot in the "exotic" location of suburban Bromley, into the realms of Mordor. Have a look at the example below.
In addition a lot of time was spent integrating other elements needed such as rain, water splashes, smoke and mist. Paul Gore Producer: Denna Cartamkhoob Production Company: Matt Shires, Stephen Grasso Smoke: Air Max, the most iconic Nike trainer ever made Beats a pair of Dunlop wellies any day of the week. Nike approached Tom and Carl at More Soon to design three films that matched the ground-breaking thinking that had gone into the sneaker boot. The brief stated that they had to represent the practical qualities that made the boot different to a normal Air Max: We worked with Tom and Carl, helping to develop their original ideas.
Both of the guys are makers themselves which made the process very collaborative from a post perspective. They both originate from a design background and this aesthetic shines through in their approach to film making. These parts were then skilfully combined with our 3D boots and animations creating the three distinctive films. The project was full of visual problem solving, design and and all round CGI craft. Time Based Arts Flame: Leandro Vazquez Design and typography: Joe Prince Grade: Strings and Tins.
The agency brief from Serviceplan International Hamburg was to explore the idea of an unreal city-scape in constant flux and change. With the agency and director we explored various options and possible techniques to visualise this in the development stage. After some early boards and animation tests it was decided that we would develop a city that heaved and rolled on a landscape that reflected the movement of ocean waves.
By utilising open source mapping data the 3D team developed a quick system that could illustrate the possibilities for the effect to the client based on differing street layouts and cityscapes, lifted directly from real locations.
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Linda Andersson Producer: Caroline Muhlich DOP: Adam Etherington Editor: Man Vs. Machine Time Based Arts Flame: The campaign celebrates the idea that beauty is about much more than what appears on the surface. The creative plays on the trend in design, engineering and wider society of looks being valued over substance. The viewer is taken on a journey through various objects, including a golf ball, suitcase, chest of drawers and an accordion, discovering something surprising and beautiful about the inside of each one.
The brief in the first instance was to help explore and define how one could travel into and through a series of objects conceived by the creatives and directors. Further to this, we had to establish the right amount of time spent inside each object, the time required travelling towards the object to allow for recognition and the general flow throughout. This all culminated in a sequence of shots of the car in action, inside and out. We set about making a full 3D pre-vis of the commercial to help to visualise the concept as a complete film.
The results were then passed back and forth through an editing process until everyone felt we had locked down the basic structure of the film. The main challenge of the project was to both accurately represent what was inside each object whilst also embellishing this with the beautiful abstract imagery one might imagine when exploring from an impossible perspective. For example in the case of the camera, robot, amp and accordion we had to sacrifice real objects and cut them up to look inside.
We researched how they worked and gained an understanding of how you might pass through each section while maintaining a visual interest and beauty in the image. This meant understanding when an object would be sliced through and when the viewer would become fully immersed in the object, such as in the interior of the golf ball or the snow dome hidden inside the suitcase.
Other challenges included combining 3D with stop-frame imagery. The 3D was put under close scrutiny given the macro nature of the journey through each object. We closely analysed the stop-frame footage and applied the findings in the comp.
The addition of shallow depth of field immediately miniaturised the clean CG renders. Lens aberration, light leak, randomising the clean edges and subtle animation in the placing of the object on each frame all helped to mimic the stop-frame look. Although enormously complex at times the job was a pleasure to work on.
Congratulations to Anthony and Factory for their Bronze at the Clio Awards for sound design on this project. Chris Turner Prod. Hungryman Agency: The Corner Agency Producer: Steve Grasso Nuke: Matt Shires, Leandro Vasquez. Andre Dias Smoke: Mike Aveling. Steve Qua Creative: Chris Wood Producer: Laphroaig Director: Time Based Arts Production Company: White label Creative Director: Greg Saunders Producers: Dan Lowe Production: Stephen de Wolf Agency Producer: Julia Methold Director: Toby Courlander Editor: Amanda Perry Peepshow Sound Design: Ben Cantor Grade: James Allen Flame: An epic spot for Vodafone from Sebastian Strasser through Radical Berlin This ambitious project first crossed our path in the spring with a phone call from Sebastian.
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What followed was a bizarre conversation about sim cards, eggs, cats, transformers, buffalos and rockets. Although we were left scratching our heads it was immediately apparent that the film was going to be ambitious, bold and packed with creative vfx. Fast forward four months and here you have it. The answer to some very important and often unasked questions including: The film's premise is a simple if crazy one; that the new vodafone sim card will, like some bizarre piece of modern day sorcery, "power up" any object to a new form.
As for our job, with such varied and complex images needed we were primarily tasked with problem solving at every level, during scripting and development, on set and through to the later post production stages. Stylistically the director wanted to keep the camera off the tripod and hand held throughout which added to the narrative flow of the spot overall but of course increased the complexity of the vfx shots.
The creature work and full fur on the buffalo for example taking many weeks to perfect for the completion of only three short shots. We're really proud of the final image and the low-fi and naturalistic feel of the spot overall. Transformers with kittens - what more could we ask for?! Jaron Albertin Production Company: Smuggler Agency: Beyonce Track: Jake Nava Production Company: Cherry Studio Producer: Matt Shires, Andre Diaz Smoke: Mike Aveling 3D Lead: James Mann 3D: More 4 Director: Rob Blishen Production Company: Leandro Vazquez, Andre Dias Previs: Poul Resen Steenstrup 3D: For those of us who grew up in the UK in the 80's, Channel 4 quickly installed itself as the black sheep of domestic broadcasting at a time when Mary Whitehouse was campaigning daily against subversive "video nasties".
In fact where I grew up, attracting Mary Whitehouse's wrath was something of a seal of approval and an ideal reason to program the Betamax. This is an interesting project for 4Creative that explores Channel 4's attitude to cutting edge programming and risk taking.
The idents were designed to revisit the "red triangle" series of programming which began in September At this time broadcasts on late night TV were preceded by a warning , saying "Special Discretion Required" and displaying a full-screen logo of a red triangle with a white centre. To prevent viewers who missed the warning at the beginning from later being unwittingly exposed to the adult content of the film, a smaller red triangle was continually displayed in the top left corner of the screen throughout the broadcast.
This quickly led to the broadcasts being informally known as the "red triangle films". Rather than adopt a cgi route Steve and Grant wanted to create something physical to shoot on set, from which they could layer up multiple passes of light and refraction. They created a perspex pyramid and then got busy in the studio experimenting. We worked up these layers and the supplied typography to create the multiple versions sent to air. JD Sports Agency Producer: Susie Stock Director: Luc Janin Production Company: Pulse Films Producer: Neil Andrews Photography: Steve Grasso, James Allen Smoke: Turns out the NBA's leading scorer for the last few years, Kevin Durant, has been keeping his eye on which of us mere mortals have been training for the new season… Surveillance graphics, holographic terminals, hand scanners, server racks and interactive basketball courts were just a few of the additions from Time Based Arts, not to mention a wealth of grading, lighting and clean up.
Are you ready? Mike Skrgatic, Luke Todd Nuke: At last we've done it! We've finally delivered a job that our Mums are proud to say 'my son worked on that'. Our involvement came early in the process assisting Anthony in the planning and design of the VFX shots. Anthony wanted to stay true to the concept of an invisible partner which meant no wires, no harnesses and no crazy rigs.
It's all done for real with opposing professional dancers and it was down to us to make them disappear. The results capture the dancers defying gravity and pulling off some unbelievable moves. Check out the side by side edit below for a peek at the invisible dance partners in their fetching lycra suits. Full marks for commitment! The time frame was tight which meant pretty much the whole of Time Based Arts got involved, even down to Joe and Ralph our multi-talented roto-scoping runners.
Definitely one that turns your head after an omnibus edition of Eastenders. Gus Herdman Flame: The tale of one dude's happy life in reverse, beautifully conceived by Johnny Kelly for Coca Cola. The scenario is captured by an array of skilfully crafted automaton puppets. Johnny designed and then pre-vised the concept down to the millimetre. Anarchy made it all come to life the whole set spans a mighty 7 metres! The imperfections of the real, hand-made approach is the very thing that make it perfect.
Its another one shot, mind boggling achievement by Mr. Chris Turner Producer: Saskia Moore Editor: Jason Berman Sound Design and composition: Scanner Time Based Arts Flame: Prince Yiadom Nuke: James Mann, James Healy.
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Based on the success of the existing campaign they were looking to take the visual forward, creating abstract visions of what your phone might see if it could dream. The objective was to invite cinema-goers to switch off their phones before the film, suggesting they text DREAM to Sprint to activate a reward when their phone awakens. This reward was one of three personalised html5 generated films showing what your phone has been dreaming about.
The creatives at Leo Burnett asked us to propose different visual routes that these dreams could take. This allowed us a lot of creative freedom to suggest the visual journey and we were able to work very collaboratively with the agency. We settled on creating an internalised feeling in the opening section, with the user reaching in to shut down the phone. This followed on from the UVA film that ended at the phone's "core". We then used this "core" or "brain" as the starting point from whence abstract dream imagery flowed. It was also interesting to deliver a job that we knew would be viewed exclusively in film theatres.
We worked closely with the sound designer to create a spot that in the context of the cinema commercial break is a really intense and immersive experience. It was great to produce, direct and then craft a piece all in house here at Time Based Arts. RedBee Media Director: Anthony Dickenson Editor: James Healy, Ben Cantor.
As we were nearing the end of reading Jaron's treatment for this Coke Burn project we'd already decided we had to get involved. Some mails end up in your inbox for a reason The words conjured up amazing imagery and having worked with Jaron before, we knew it would be a Time Based Arts classic. The film follows the vivid dreams of five freerunners as they jump and leap their way through a disused warehouse. Their abstract visions pulled from their dreams and projected into the space.
As the film progresses the projected theme becomes more evident and the texture of the warehouse begins to show through. It ends on a reveal of the space as the projections switch off and the runners meet in the hub of the building. It had to feel projected but not give the away the concept too early in the film. What would it look like if you could back project something 5 stories tall on to concrete and from every direction. We think something like this. Most shots were camera tracked and rebuilt in Nuke or 3D. We built bespoke textured warehouse features into each scene and it was all brought together in Flame.
We created a dark and moody ocean for the first scene and additional 3D fire and smoke for the final vignette. We then graded the imagery throughout to maintain the muted feel that Jaron shot for. Megumi Matsuno Hair Stylist: John Mullan DOP: Luke Palmer Editor: Matt Shires, James Allen. Arno Salters Production Company: Stink London Producer: Anna Smith Agency: Droga5 Sydney Grade: Ben Cantor 3D Product: Heckler, Sydney.
Alex Mathieson Producer: Oscar Gonzalez-Diez 3D Environment: James Mann 3D Logo Animation: Chris Wood Flame: Mike Skrgatic. Kate Dunn Creative: Emily Grover Creative Directors: Chris Bovill and John Allison Producer: James Mann, Chris Wood Flame: Johnny Kelly Production Company: Nexus Productions Executive Producer: Tracey Cooper, Julia Parfitt Producer: Natalie Le Berre Production Manager: Claire Thompson Advertising Agency: Tara Lawall Art Director: Devon Hong Agency producer: Tamara Lecker Board Account Director: Shani Athureliya Executive Creative Director: Mark Davies 2D Animation: Alasdair Brotherston, Adrian Lawrence Edit: Paul Hardcastle Trim Music: Sheldon Gardner, Dave Birkill Grade: We've been following Johnny's work since the inspiring and game changing shorts 'The History of Gaming' and 'The Future of Gaming' through to his recent work for Ridley Scott's Prometheus.
Understandably we were pretty taken to be working with him at Time Based Arts. The film captures the contest of Lucozade vs. Water, introducing a new scientific claim, that Lucozade Sport hydrates and fuels better than water under scientific testing. Twenty four competitive athletes go head to head, half fuelled purely by Lucozade and the other by water. The action takes place under laboratory conditions monitored by a group of GSK scientists. Johnny's attention to design is apparent throughout the film.
Location, art direction, costume, sound, grade and the design of the graphics all marry together to create a unique image that personifies the idea perfectly. We helped out with realising his designs for the screens, developing a thermal imaging look, animating the stats and comping them into the footage. A nice 2 week run in to Christmas and a great end to of our exploits for Grey London Agency Producer: Tom Pearce Production Company: Bonnie Anthony Editor: Ross Hallard Trim Sound Design: Will Cohen Grade: James Mann.
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We were delighted to be able to work with Sebastian Strasser in bringing his vision for the film to life. It was a huge campaign spot and shot over six long nights in multiple Hong Kong locations. Every section of the film had a large degree of vfx work — The beauty of the opening scene in the street market for example disguising the fact that it was built from many passes and layered up to build the rich and atmospheric establishing wide shot.
Ahead of the shoot and throughout the post process we developed the look and feel of the lighting effect closely with the director and client. This was important as it acts as the narrative thread throughout the spot. It had to work on the widest range of scales - whether being emitted from a phone held in the hand or being seen spreading across continents from space.
This was built up by using a variety of techniques and executions to embed the computer generated tail. These included cgi water simulations, shot textures captured here at our studio and source imagery from the location itself. He said: Even a grumpy, never happy director like me has to confess: Creative Director: Matt Gooden Creative Director: Henrik Delehag Art Directors: Emma Penz Producer: Rob Steiner Production Company: Shirley O'Connor Digital Prod. Jess Gorick Smoke: Mike Aveling, Gavin Burridge Flame: Kuo Chieh Chung. Thomas Bryant Producer: Hannah Clark Agency: Wolf-Ollins Edit: Ben Rogers Glassworks Music and sound design: Time Based Arts Post Supervision: Jess Gorick Flame: Matt Shires, Andre Dias Smoke: Kenny Badex PFTrack: Toby Winder.
Rupert Jones Creative Director: Neil Gorringe Producer: Quin Williams TenThree Grade: James Mann Smoke: Mike Aveling, Gavin Burridge. The new GS h is driven through a dizzying array of environments, from slick city streets to forests to highways in the Midwest.
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The ad was inspired by the efforts of the chief engineer of the Lexus GS, Yoshihiko Kanamori, and his team, who drove the car a million miles around the world during its development. Our involvement started when Antony approached us to discuss how he wanted to apply stop frame photographic techniques into a seamless journey.
We tested with different rigs and setups before settling on a Canon 5D MarkII shooting RAW exposures every second with the camera vehicle moving at 30 miles per hour. This became a constant for the multiple shoot days that occurred around the world including California, South Africa, Namibia and Iceland. This constant movement forward allowed us to begin to stitch the images together, finding links between the forever encroaching landscapes, until it's very hard to see which element is taken from which location.
In doing so we created a seamless impossible road that transcends multiple locations, continents and seasons. All of the car material was shot in Los Angeles where the only examples of the new car were available. This included a day in the studio where one car had it's roof removed to allow a MILO motion control rig to travel through the car and into the sat nav screen on multiple lighting passes.
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The interior roof of the car was replaced in post with sgi assets. Other key areas included the "neurones" end sequence which was designed and brought to life by Oscar Gonzalez. All in all it was a huge project for us here at Time Based Arts, one which we were really able to craft and bring ideas to, under Anthony's direction. The difficulty and complexity of it's execution we hope is suitably disguised by the commercial's overall effortlessness to watch. Red Bee Media Director: Claire Norowzian Creative Director: Mina Patel Producer: James Allen, Sheldon Gardner Smoke: Republik Agency Director: Anthony DIckenson Producer: Kate Woodhouse Editor: Paul Hardcastle at Trim Grade: Stink London Exec Producer: Blake Powell Producer: Giles Skillicorn Agency: Mother Creative Director: Slim may know more.
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