Coldplay’s Ghost Stories soars with album-length animation by Trunk

Ghost Stories, Coldplay’s sixth album, has been given a suitably haunting promo in the shape of an animated album cover by Trunk. Rather than just creating a 10 second looping GIF, Trunk Directors Alasdair + Jock came up with the idea of an epic 43-minute long animated film that unfolds as the album is played.
Richard Barnett at Trunk Animation had initially been approached by commissioner Sam Seager at Parlophone, bearing an image of the album cover designed by Mila Fürstová. The question then was how to bring the mesmerising, highly detailed etching to life, without losing the ethereal look and character?
The Ghost Stories artwork, a pair of wraith-like wings, had to be meticulously traced by hand, pixel by pixel, in order that Alasdair Brotherston, Jock Mooney and their team at Trunk could work at the 7K scale necessary. The new high-resolution image they created enabled tiny elements within Mila’s etching to be worked on in far more detail, allowing for tiny sections to be animated, and dynamic camera moves added.

Certain areas of the image, which would leave holes when some objects or characters were animated, had to be re-imagined. To do this, Jock had to learn Mila’s style of mark making, noting that, “the painstaking attention to detail in the re-drawing was essential in order to retain the aesthetic of Mila’s artwork, and allow new elements to be added and animated”.

The film used a multitude of animated techniques; a team of ten animators and art workers using 3D, 2D cuts outs, and classical 2D hand drawn came together to create fifty individual sections. Each section had to be animated in such a way that they could be looped, ranging from 30 seconds to an impressive 2 minutes. Once animated, each section then had to go through a heavy compositing and effects stage in order to pull all the different techniques together, and make sure the line style in the animation was exactly the same as that of the album artwork.

To help build an overall visual narrative, the film slowly reveals more and more detail as the album tracks progress, allowing the viewer to travel in and out of what is in essence a world within a world.

The team also utilised time-lapse photography and other special effects to create the world ‘outside’ the wings. As track 5 ‘Midnight’ plays, time-lapse clouds, sea and mist are mixed with shooting stars and a waxing and waning moon which casts the wings into darkness.

The amount of detail, the length, and the technical processes involved in the project were so vast that Trunk had to utilise a render farm to crunch the raw data. 53,000 unique frames had to be processed in such a way that the process wouldn’t grind to a halt, which meant that some 300,000 smaller pre-renders had to be made over four long and gruelling days. It was not to be without problems either – the studio fuse box suffered two blow outs, wiping out seven hours of work in total.

“It was a massive undertaking but we wanted to create something unique for the album,” said Alasdair. “We loved the idea of bringing this image to life with some really beautiful movement, in a way that matched the intricate and complex look of Mila’s artwork.”

Richard added, “The finished project has to be up there in our top 5 along with the projections for Madness at the Queens Diamond Jubilee, Rok’s lyric vid for The Rolling Stones, our visuals for Keith Urban at the Country Music Awards, and of course Elton John’s Million Dollar Piano visuals.”

The final film was streamed on iTunes on May 12th, prompting a buzz of admiring comments and messages from among Coldplay’s 12 million fans on Twitter.

Trunk has created a making of video for the project, featuring Alasdair + Jock


THE AMAZING SPIDER-MAN 2: The Villans VFX Breakdown

The Amazing Spider-Man 2 – The Villians Animation Shot Build. Narrated by David Schaub, Animation Supervisor.

We’ve always known that Spider-Man’s most important conflict has been within himself: the struggle between the ordinary obligations of Peter Parker and the extraordinary responsibilities of Spider-Man. But in The Amazing Spider-Man 2, Peter Parker finds that his greatest battle is about to begin.

It’s great to be Spider-Man (Andrew Garfield). For Peter Parker, there’s no feeling quite like swinging between skyscrapers, embracing being the hero, and spending time with Gwen (Emma Stone). But being Spider-Man comes at a price: only Spider-Man can protect his fellow New Yorkers from the formidable villains that threaten the city. With the emergence of Electro (Jamie Foxx), Peter must confront a foe far more powerful than he. And as his old friend, Harry Osborn (Dane DeHaan), returns, Peter comes to realize that all of his enemies have one thing in common: Oscorp.

CGI VFX Cinematic HD: “Titanfall Intro Sequence” – by Spov Design + Moving Image

Check out this fantastic Opening movie cinematic for Respawn/EA’s new Xbox One game, Titanfall, created by the talented team at Spov Design + Moving Image!

Opening movie for Respawn/EA’s new Xbox One game, Titanfall.
This cinematic sequence details humankind’s escape to the stars, using footage of space travel, before utilising Spov’s CG and animation skills to visualise Titanfall’s game world – one where ships and people have travelled to the farthest reaches of the universe.

Influenced by footage from NASA’s Cassini mission to Saturn, and particularly an edit by Chris Abbas , the sequence blends the stark and minimal realism of space with the preparation of the massive Titan mechs for their planet fall.

Titanfall’s narrative exists in our universe at an indeterminate point in our future. Using a mix of archive materials, CG and VFX Spov have woven together the human and science-fiction elements to create a holistic storytelling piece.

Spov is a creatively led design and animation studio in Haggerston, London.
Our creative services include concept development and art direction, live action production and post production, motion graphics, branding and visual effects.
We approach our work with passion, commitment, good humour, and a dedication to produce compelling work that is original in concept and execution.
We operate on an open, collaborative basis both in-house and in our client relationships, and bring a wealth of experience and enthusiasm from the design, animation, TV, film and gaming industries to our clients.

Website –
Titanfall game –

FATE – Official Teaser

While exploring ancient temple a thief will face the gears of destiny. We introduce “FATE” – new fantasy short animation by EVERMOTION. Read about FATE project and see Concept Art here:

– Producer: Krzysztof M. Kundzicz
– Executive Producers: Pawel Gajlewicz, Adam Kozlowski
– Director: Adam Guzowski
– Scene Assembling: Rafal Waniek
– Character Artist: Barbara Witkowska, Iwo Widulinski
– Modeling: Rafal Waniek, Adam Zimirski, Pawel Mierzynski, Barbara Witkowska, Andrzej Augustyniak
– Animation / Rigging: Kamil Kuklo
– Shaders: Rafal Waniek, Jakub Dabrowski, Barbara Witkowska
– FX: Adam Guzowski
– Lighting / Rendering: Adam Guzowski
– Composition: Adam Guzowski
– Concept Arist: Iwo Widulinski
– Additional Concept Design: Piotr Jablonski, Piotr Makal
– Programming: Przemyslaw Chren
– Editing: Adam Janeczko
– Music: Szymon “EsDwa” Kubas
– SFX: Piotr Niedzielski, Szymon “EsDwa” Kubas

Evermotion VFX is a visual effects, CG environment and character animation company. We create advertising, entertainment and branded content. Evermotion artists are capable to work on every production stage of cinematic – from pre-visualization, through modeling and animation to postproduction. Our quality was proven by incorporating our staff in many projects. Some of our clients: Al Jazeera, Aggressive TV, Platige Image, Whirlpool, Visual Noise, Vertic, Square Clock. We are based in Bialystok, Poland.


Hello World!
First of all: Thank you, Thank you, Thank you. I was overwellmed by the many ‘hearts’ and never could have imagined to be so many. I will surely checkout the accounts of those who ‘hearted’ me. Also thanks for the nice comments from some ‘famous’ people 🙂
Further thanks to the other forums/sites that linked to MITE: , , ,, , , and of course vimeo! Which by the way offer some interesting statistics, one of which says that this video was watched from 145 countries. Just wow!

Some info about me, I’ve been a professional computer animator for the past 20 years and 10 years of traditional cell animator before that. So for this film to take nearly 10 years to complete is a manageable timeframe 🙂
Unfortunately Softimage has been discontinued by Autodesk in 2015, if you want to see ‘The Return of Mite’ 10 years from now please visit:
Thanks for your help.

King regards Walter Volbers , europe 2014

Production info:
Modelled, rigged, animated in XSI/Softimage. Rendered in Softimage using Arnold with a maximum frame time of 3:22 hours (SITOA 1.17). Render resolution 1280×720, depth channel resolutuion 2560×1440. Comped in Nuke using Frischluft for depth of field in 2560×1440 and resized to final 1920×1080.
Camera animation is ‘one shot’ except for the crash zoom in the beginning with a short disolve to the key, where I change the set. I started out using Mental Ray but I was forced to switch to Arnold (faster, better, more stable).
As already mentioned, the production-time: 10Years! (not kiding)
Yes, this seems loooong, but this was an ‘on and off’ project done aside from my day job as a CG artist. And most time was wasted having to redo the shading with Arnold. Summed up to an eight hour workday the animation of the Mite was completed in two weeks.

The New “Doctor Who” Hits In August

The first, and extremely brief, teaser trailer has arrived for the upcoming eighth season of the BBC’s “Doctor Who”. The new season marks the first spearheaded by Peter Capaldi’s 12th incarnation.

Shown only in silhouette, and with the TARDIS console seemingly exploding behind him, the trailer finally does confirm a long standing rumor – that the new season is scheduled to start in August.
he first six of twelve episodes are in the can, with filming on the seventh spotted in recent weeks. Check out various set photos below of Capaldi and co-star Jenna Louise-Coleman during the filming done so far, there’s even a glimpse of “Da Vinci’s Demons” star Tom Riley decked out very differently as Robin Hood (the episode’s title indicates he’s possibly a robot).

Edgar Wright Exits Marvel’s ‘Ant-Man’ Feature

Three years into the project that many had been anticipating based solely upon his involvement, director Edgar Wright exist Marvel’s ‘Ant-Man.’

Three years into the project that many had been anticipating based solely upon his involvement, director Edgar Wright has exited Marvel’s Ant-Man, according to a report by Deadline.

The statement announcing Wright’s departure calls it an amicable parting between the filmmaker and the studio, blaming it on “differences in their vision of the film.” Wright’s leaving won’t impact the movie’s July 17, 2015 release date, and Marvel said it will formally announce a new director shortly.

Written by Wright and Joe Cornish, Ant-Man stars Paul Rudd as the title character along with Michael Douglas, Evangeline Lilly, Patrick Wilson, Corey Stoll and Michael Pena. The film follows biochemist Dr. Hank Pym (Douglas), who uses his latest discovery, a group of subatomic particles, to create a size-altering formula. Though his first self-test goes awry, he develops an instrument that helps him communicate with and control insects.

Wright, known for his collaborations with actor-writers Simon Pegg and Nick Frost, impressed the 2012 Comic-Con crowd with some early Ant-Man footage. But he then postponed the film to work on the pub-crawl pic World’s End, which grossed $46 million worldwide for Focus Features last summer.

Kingsman: The Secret Service | Official Trailer

Based upon the acclaimed comic book and directed by Matthew Vaughn (Kick Ass, X-Men First Class), Kingsman: The Secret Service tells the story of a super-secret spy organization that recruits an unrefined but promising street kid into the agency’s ultra-competitive training program just as a global threat emerges from a twisted tech genius.

Written Jane Goldman & Matthew Vaughn, based upon the comic book by Mark Millar & Dave Gibbons