Everything Cinema 4D

Shave It by 3dar Studios


Animated short film by 3dar Studios.

Behind The Scenes

Synopsis
In the wilderness of the forests where giant bulldozers are tearing apart the woods there is a monkey that accidentally
finds a shaving machine and decides to use it. Spontaneously disguised as a human being, he moves out to the city and starts a career. After a stunning success in business, he understands the need of gaining political power. Not too long after, he becomes the president. Now he is ready to make a change.

DIRECTORS’ NOTES
For us, it’s an ironic reflection about how nature adapts to the human invasion. We found a great inspiration in an Amazonian bird, the Lira, which imitates the sounds it hears in the environment. It does it with such a lack of criticism or judgment that it imitates the other birds singing, the power saws noise or the crash of the trees falling in the same way. We must admit that part of the credits should go to Nahuel, a friend of us that shaves his arms in laughable ways.
We watched the monkey’s behaviour and the way they move, first in the zoos, then there was a trip to the Amazonian jungle and finally some actors friends, the monkey’s acting is the result of all this together. Regarding aesthetics, we wanted to choose the way of maximum expression possible, trying to get over the technique. In a free mix of 3D and 2D animation, saturated and live colours we found a harmony that reflects the nature’s freedom and that even loses its’ respect.

Sherwin Williams commercials by Buck



Advertising agency McKinney approached Buck with a brief that challenged them to create a world using Sherwin-Williams paint swatches to tell a story about color. Benjamin Langsfeld, an associate creative director at Buck, writes about what he learned, what he did wrong, and what he learned, from making Sherwin Williams commercial.



What he learned.
“1. We organised our workflow. 2. We created a set of rules. 3. We explored water and fluid-like motion. 4. We were flexible with rigging.”



What he did wrong.
“One of the hardest things about this project was agreeing the same definition of ‘colourful’ between us, the agency and the client. We got stuck in a debate between thinking of it as a controlled palette with pops of vibrant colours and a full-on explosion of highly saturated colours for 30 seconds.”



Lessons learned.
“Sometimes a production schedule doesn’t exactly synchronise with the client’s decision-making process, and in those cases you have to shoot first and hope you aimed in the right direction later.”



For a detailed interview, see the original post on 3D World