Issue link: https://digital.copcomm.com/i/455278
www.postmagazine.com 42 POST JANUARY 2015 POSTINGS NUMBERS IN NATURE CHICAGO — The Museum of Science and Industry, here, off ers exhib- its such as a U-505 submarine and a full-scale home of the future. The institution recently unveiled its permanent "Numbers in Nature" exhibit, representing its latest collaboration with conceptual design company Leviathan (www.lvthn.com). The exhibit allows visitors to explore the re- currence of patterns and mathematics in the natural world through a fi lm presentation and myriad of interactive installations. MSI Chicago commissioned Leviathan to create a four-minute-long, ul- tra-widescreen fi lm that combines HD cinematography with motion graph- ics and VFX. Live-action footage was captured at 6K resolution, and digital content was created in up to 8K resolution. The studio used The Foundry's Nuke, Maxon Cinema 4D and Adobe After Eff ects to execute the project. The original score was created by Waveplant's Joel Corelitz. BE TOGETHER. NOT THE SAME NEW YORK — Integrated production and animation studio Mixtape Club (www.mixtapeclub.com) partnered with Google Creative Lab to produce a multi-platform campaign for the Android mobile OS. From broadcast and Web to out-of-home executions, the campaign revolves around a world of characters who bring to life the brand's tagline, "Be together. Not the same." Under the direction of Mixtape's Chris Smith, the team created fi ve :30 spots and one :15 for TV, as well as a multi-screen animation for 10 digital out-of-home installations on newsstands throughout NYC. Mixtape Club worked side by side with Creative Lab on many phases of the campaign, from early concept development and character animation to music and sound design. The studio teamed up with its integrated partner, Huma-Huma, for all things sound and music, including the music that plays during the title card sequence at the end of the spots. Adobe's Illustrator, Photoshop, Flash, After Eff ects, Premiere, and Speed Grade were all used, along with Avid Pro Tools. MEET THE BAES NEW YORK — Cutting Room (www.cuttingroom.tv) posted a new online series that looks at the squad known as "The Baes," who back up artist Pharrell Wil- liams. Meet The Baes was produced by I Am Other and directed by aWhiteLa- belProduct's Crystal Moselle. The project was edited by Cutting Room owner Chuck Willis and his team, who drew from a wealth of footage, including tour performances, interviews and behind-the-scenes settings. The documentary series illustrates the individual personalities of the eight female performers. The introductory video launched on Williams' Facebook page on December 8th, and the remainder of the full videos went live on the I Am Other YouTube channel the following day. Additional short teasers were cut for use on Twitter and Instagram. Willis worked closely with editors Merritt Duff and Brian Sanford, and mentored junior staff ers to cut 10 pieces that would seamlessly fl ow to- gether to create over 30 minutes of content. The project was shot over 10 days and features Adidas branding. Avid NLEs were used for the edit. ROAD TO BERLIN CHICAGO/NEW ORLEANS — Sarofsky Corp. (www.sarofsky.com) recently unveiled a :30 spot created in partnership with Peter Mayer Advertising. Road to Berlin debuted throughout Louisiana in early December and invites viewers to visit the new exhibit of the same name at the National World War II Museum in New Orleans. Sarofsky executive CD Erin Sarofsky and CD John Filipkowski led the team, which united archival footage and an animated map to conveying the path taken by US and Allied forces as they made their way toward Berlin. The Mu- seum provided private World War II footage, which was paired down to about 15 shots for the :30 spot. To design an animated globe, the team was given a map from the 1940s, which was then traced in Illustrator to create vector art. A textured pass of that image was rendered at 30,000 pixels wide and imported into Maxon's Cinema 4D, where artists modeled, animated, textured and projected footage onto the globe.