This is a pretty cool piece (heh, see what we did there?) Doug Johnson worked on this video with a Malaysian animator to animate the Thermocool catheter.
Sometimes your heart will take on a mind of its own and beat in ways it really shouldn’t. This is called Afib. AF, flutter or some other names. Anyway, if you can’t get the flutter under control you might have to ablate the rebellious tissue so it stops fluttering and sends a strong message to the surrounding tissue that these shenanigans will not be tolerated (yeah we made that part up).
The thermocool catheter uses irrigation to keep the tip cool as it’s burning away the mutinous cells. Keeping the tip cool helps reduce, what is referred to as ‘Char formation’… yuck. The only thing grosser than char tissue in your heart is char tissue in your throat, but we’ll save that for another TBT.
Doug used real flow for most of the fluid dynamics but due to the timeline we had to call in help from a Malaysian animator (we can not find his name anywhere) to help with the simulations of the tip drop forming.
The art direction was defined by the print campaign that preceded the animation
It’s a pretty long piece but you’ll get the idea after the first few minutes
Hydrophilic? Hydrophobic? How about both?
Here’s a demo-render of a cell wall. When looking through old renders it’s amazing how many animations never get seen for one reason or another. This was one of several ‘looks’ that Doug Johnson delivered to a client that wanted to create an animation depicting the symphony of activity inside a living cell. Doug was just beginning to incorporate Luxology Modo into the pipeline and this is the result. One of the cool things about doing medical animations is that there are tons of real world models of the proteins that make up… well… us. The proteins that look like bunches of grapes are taken from the protein databank and translated into Modo. Which is pretty cool.
We created 3 looks for the cell and here’s the next one. It starts from the smallest component of the cell wall and builds from there.
You’ll notice that the structures we populated it with are mitochondria which are Doug’s favorite part of the cell. To see what they do, just touch your skin. Is it warm? That’s mitochondria, they convert glucose into the energy you need to do anything other than sit like an immobile lump. What’s even cooler is that they have their own DNA and reproduce on their own schedule… Like a cop who plays by her own rules, sometimes she listens to the chief and sometimes she handles things on her own.
Why isn’t the 3rd look here? Because it is the look the client chose and it isn’t something we’d want to show anyone… Ever.
Ok so this spot isn’t THAT old, so why is it worth a look?
We shot it behind our offices at Seaport in redwood shores.
1. The sun was NOT shining
2. The weather was NOT warm
3. The actress had somewhere around 0% body fat.
Doug Johnson had tried to come up with a contraption to make sure she was hit with a huge wave of water that the spot called for. After lots of brainstorming and trial and error we settled on the ingenious idea of two guys with buckets of water. Kent and somebody else (Rich Gunderman I think) were the splash wranglers. We did a couple of takes and she does a pretty good job pretending it’s ok to have ten gallons of cold water dumped on you on a cold day.
The sun was almost down and it was getting cold. We were shooting at a high frame rate to slow the splash down and in that footage by the third take you could see a horrible and hilarious uncontrollable slow motion shiver running through every part of her body. These were not just tiny quick shivers and goose bumps; these were major muscle groups trying desperately to generate the heat her non-insulated body was incapable of retaining. She could no longer even fake amusement when the water hit her; and she had turned a pretty ‘winter elf’ shade of blue.
The colorist did an amazing job with the footage and everything looks warm and inviting. Trevor Gavin edited the spot and did some incredible color correction to match the shots on the less-than-perfect footage of the boats that was provided.
This is one of my all time favorites. Not only because Hot Wheels are awesome; but because we were using a lot of new technology to put it together.
Our client licensed ‘Fuel’ by Metallica (a single needle drop if I remember correctly) and we created the script based on a list of actions that the Hot Wheels video game would have; things like the loop, the exploding bridge, the car acrobatics, and the power up beam that crosses the track. Mike found an amazing piece of software for animating vehicles. it was way ahead of it’s time and I still occasionally use it. Talk about a throwback… The software ONLY runs on Windows NT so I have an old (and I do mean OLD) IBM workstation that I have to dig out any time I want to use the software.
The client also defined the cars, which we (Doug Johnson and Mike Massee) modelled textured, animated, composited and rendered.
Twin Mill (the gold car) was the first HotWheel design.
I don’t remember the name of the blue jet powered car; but who can possibly forget the Red Baron. You’ll notice we used the version without the helmet spike.
The spike was a VERY short lived feature of the original Red Baron Hot Wheel. I wonder who stepped on more of them, kids, or parents navigating messy bedrooms in the dark. The spikes often ended up being bent and snapped off or buried in the heel of some poor soul (or would that be sole?)
This is a tiny section of a really fun piece.
The venerable Borland had decided to get all dot-commy and change their name to the utterly stupid Inprise. A decision so wise, they changed the name back to Borland.
The idea was a cross between Excalibur and dragon slayer, Horses, SCA (Society for Creative Anachronism) and brilliant prose like ‘Complexity IS the dragon!’ What’s not to like?
Doug Johnson, Mike Massee, Greg Leuenberger, and a bunch of FAT BOX people put this together.
I’m looking for the whole piece but I imagine it has been lost to the ether.
I have worked on a wide range of projects and I figured heck why not use the TBT movement as an excuse to dig up some old videos.
This first video goes way, way, way, back to the early dot com era. Mike Massee and Doug Johnson created this video while working at FAT BOX together. His great art direction, (borrowed from city of lost children and various Anime sources) gave us the inspiration for this very early animation created primarily in LightWave 3d.