• 12.19.17

    Serial Cut Gets Juicy with Starburst

    The first bite into a Starburst is chewy, but as you work your way into the candy it gets jucier and jucier. In fact, Starburst calls them “Unexplainably Juicy.” That unexplainable nature may explain the inspiration that Serial Cut used for a trio of imagery for Starburst that plays on unbelievable cultural tropes that are as surprising as they are hilarious. Each candy is so juicy that Serial Cut visualizes them as bodies of liquid, providing a pool for each of the funny situations.

     The pink Starburst acts as shark-infested waters for an enterprising diver (clad in an inflatable flamingo lifesaver) to jump into. A red Starburst replaces the Red Sea that Moses parted, showing the mist and waves that would come from such a divine action. The orange Starburst is the perfect canvas for a waterskiing trio for their routine, all while tethered to Nessie (the Loch Ness Monster). Each candy sits on the iconic waxed Starburst wrapper.

    Serial Cut created each of these images through CGI, miniaturizing incredible stories and ideas into bite-sized treats, and they’re just as sweet as Starburst.

  • 9.26.17

    Serial Cut and Honda Celebrate

    Summer is a time for dreams. It’s the season every school kid looks forward to all year, when they can run free and play to their hearts’ content. Parents may feel differently about it, but that tinge of infinite possibility never really goes away no matter how old we get. This year Honda jumped head first into that sentiment for their Summer Sales Event and asked Serial Cut to help them bring it to life. The three images they created through collaboration bring all those dreams to life in their own unique hues. 

    Serial Cut created three different worlds for the campaign. The orange composition is an ice cream lover’s dream, with a myriad of frozen treat options melting all over the environment and the car. A red carnival finds games and rides and plenty of buoyant balloons to lift the car off the ground through sheer joy. A refreshing waterpark comes wrapped in blue, with the car splashing right out of the ground at the end of what must be a thrilling water slide.

    All of these environments were created through Serial Cut’s expert CGI compositing, playing with movement, texture, shape, light, liquid, and every other possible variable. This one campaign represents a mastery over a menagerie of skills and needs that few other creative studios can boast. We’re proud to present this “Summerbration” campaign on behalf of Honda and Serial Cut, brought together with RPA USA, out of Santa Monica.

  • 12.5.16

    Out Now: B&A Journal 9

    Bernstein & Andriulli is more than an international agency with some of the best agents in the world, we’re a home for artists. Our roster represents creative forces that we truly believe in and whose work we want to spread to every corner of the globe. These artists are incredible talents and incredible minds, and as much as we show off all the best projects that they work on sometimes you need to get a taste of it yourself. That’s why we introduced the B&A Journal.

    Every few months we pick some of the best work that’s come out of the agency and feature it in a large format, printed journal for friends, fans, and clients to thumb through at their leisure and experience the work of these world class artists in an intimate and tangible way. This week we’re releasing B&A Journal 9, and we couldn’t be more excited.

    In addition to a beautiful cover shot by Ben Rayner, and dedicated pages for dozens of our artists (featured here are Platon, Marco Grob, Stephen Wilkes, Rose Blake, Guillaume Lechat, We Are The Rhoads, Serial Cut, Shotopop, and Radio), we’ve also included a special insert with this edition that formally announces our Murals department that includes a roster of public artists that rivals the best in the game.

    B&A Journal 9 should be hitting your mailbox very soon - and if you want to make sure you get a copy reach out! We’d love to hear from you.

  • 10.28.16

    Serial Cut Transforms the Past into the Future for Converse

    Our pasts are constantly catching up to us, but we rarely get to see the relationship between the past and the present as beautifully as what Serial Cut created for Converse. The sneaker company has spent a good portion of this year updating some of their classics so they asked Serial Cut to show us what those updates look like in an evolutionary way. Converse gave Serial Cut access to some of the original footwear, and they created a series of videos wherein we watch the old versions turn into the updated models. The All-Star, Auckland Racer, Thunderbold, and Jack Purcell are all brought into the future. “We wanted to create dynamic, thrilling and unexpected motion pieces,” explains Sergio. “To get this feel, we made some tests until we reached the right way that really told the story.” It took some tweaking, but once they found the right aesthetic it was full steam ahead in creating a veritable library of transformations.

    Handling shoes that are decades old can be tricky, and using CGI to bring them into the future presents its own challenges. “With no doubt the first motion piece of the All-Star Modern was the hardest one,” says Sergio. They started with the original shoes, photographing them from every angle in a very condensed period of time, and then created them piece-by-piece in the computer. “All the vintage and new sneakers were created in CG,” Sergio explains. “The animation process was a bit tedious because we had to find the right look and feel to define the rest of the other movies. So finally we got a very nice and thrilling motion piece and I think is my favorite. Deconstructing this vintage sneaker was really fun.” The shoes shape shift from their OG looks and reconstruct as the newest versions. It’s a clear transformation from the past to the present.

    There’s a lot of benefits in a project like this one, not least of which is that it’s with a company like Converse. “Working for a big brand like Converse means a lot of exposure,” says Sergio. “But aside of this, the product is nice, and how we tell the story as well. This is the typical project that goes directly to our portfolio.” Results like the ones Serial Cut achieved are dynamic and exciting, and it makes sense that Serial Cut would be as proud of it as they are.

  • 8.30.16

    Serial Cut Brings You Into the Diesel Lifestyle

    Every apparel company has the same goal: they want to get you into their clothes. Everything they do, every ad, every in-store event, every image they share on social media is done with the goal of getting you into their clothes. But you have to be able to imagine wearing them. Mostly they’ve used models who are the most beautiful version of what you want to be and dress them in those clothes to attach your reverence to the apparel and seek them out. But now Diesel is going in another direction and they’ve asked Serial Cut to help them accomplish their goal.

    In a series of new images, created in a blend of CGI and true-life references, Serial Cut has created an environment that shows off Diesel’s newest collection of denim. But Serial Cut took out the aspiration of typical model-centric photography and shows off the denim alone. They’ve constructed the compositions in such a way that all we see is the clothes. And when all we see are the clothes we can see ourselves in them better, without whatever social tides come with regarding at perfect models when we, ourselves, are imperfect. As a result the images become an invitation instead of a demand, and isn’t that what all consumers want anyway?

  • 6.4.15

    A Bible for the Religion of Art

    Artists’ work is a residue of our culture and their time. The work stands after time has passed us by as a relic of what came before; an artifact of events reminding us of who we are, and eventually who we were. OFFF is a festival taking place in Barcelona every year where artists and scientists from around the world converge and speak creatively. There is little more broad structure than that. It is a consortium of curiosity with performances, panels, and social gatherings to swap ideas and build on creativity. It is boundless in scope and fenced only by the limits of imagination.

    The residue of this annual festival is an enigmatic book that can be shelved and reinvestigated, as the ephemeral nature of the festival erodes to imperfect memory. Like some kind of biblical text, this artifact calls the future as if it were written during another life; a yearbook of a cult conference after meeting the shadow of god. OFFF Unmasked, as it is titled, was designed by design studio Vasava. Acting as the creative shepherd, an incredible volume of work by dozens of participants fit between the hardbound covers of OFFF Unmasked. The narrative shifts through each section from dogmatic scripture, to a personal investigation replete with evidence and exhibits, and even a section entitled “Believe” with a smattering of art that stretches the mind and challenges perception.

    The roster of OFFF’s participants are represented in Unmasked as imagery created by Serial Cut in collaboration with Bartholot. These portraits are more figurative than photographic, displaying the essence of the creative as anonymous costumed force, draped in the tones of their surrounding environment. It is the surreal joining of figure and place, each holding a contrasting object that represents the work and passions of the figure. At once alarming and enthralling, these portraits provide a vision of what makes these creative valuable in a way their human form regretfully can not show.

    The XV COMMANDMENTS were enriched by Rizon Parein, Vasava, and Craig Ward. Rizon helps us to remember that artists must “Give Change” with their work. Vasava encourages creatives to give over to the unknown. And Craig Ward’s filthy typography reminds us to get our hands dirty. 

    Sawdust provided the imagery behind the fifth and final sin in the “V SINS” section that outlines cardinal creative sins. “Complaining,” the sin reads. “Do not whine about challenges; instead, drink the wine of opportunities.” The composition shows the result of energy scattered by whining, struggling to return into the forms of letters. It wants to communicate, to come into focus, all it requires is the commitment to the artist’s moment and not their basest childishness.

    In a conference that gives over to the divine power behind investigation, deeper exploration requires an almost religious adherence. Vasava’s OFFF Unmasked is the resulting bible of this study, and something we can all learn invaluable lessons from.

  • 6.2.15

    Serial Cut Reimagines Summer

    Some images are classic summer. Ice cream. Surfboards. Watermelon, picnic blankets, and sunscreen. This is our summer canon, but not everyone experiences summer the same way, and at least one brand is reimagining the way we come in contact with the hottest months of the year.

    Diesel’s aesthetic has always been edgy. From reshaping the way we approach denim, to taking bold new stands in contemporary casual, Diesel has done a great deal to change the landscape of modern style. Now they want to change the way we experience summer. Teaming up with creative group Serial Cut, they envisioned a set of moving visuals that would create a new context for their Summer 2015 Collection that ultimately would play in their stores. Handing it over to Serial Cut, what they got was an entirely new take on the classics.

    The digital celebrations of summer feature pieces from the Diesel collection, including footwear, sunglasses, and bags, all inhabiting a glossy CGI landscape. An ice cream cone, surfboard, and basketball all melt and drip in the heat, but their oozing is encapsulated in a candy coating that shimmers through a rainbow of blues, greens, and pinks. Laconic background music is punctuated by echoing droplets filling in the surreal immersion.

    These moveable creations set a background to show off accessories that are presented in photographic realness, floating and spinning to the music and nearly chaotic energy that is amplified by the season. These products and their movements emphasize the suspension of natural law as texture and motion are heightened to perfection, and gravity is merely a suggestion.

    Serial Cut’s videos for Diesel are now playing at Diesel stores inviting you into their unique take on summer.

  • 3.25.15

    Serial Cut Shows Us Cisco's New World

    The future doesn’t come at us in leaps and bounds, instead it’s built slowly, invisible piece by invisible piece until we turn around and notice it’s suddenly here. Almost like it appeared while we slept. Multinational Technology company Cisco Systems is building that future, innovation by innovation, tackling each tiny tech problem we face and building into a future we may not recognize. The company’s motto is “Tomorrow starts here,” and their latest campaign with creative studio Serial Cut shows how they’re updating our world to be what we need our future to look like.

    A series of three ads explore three different sectors Cisco is working on using Serial Cut’s CGI artistry. The three photo-realistic pieces use familiar images with unique elements combining into captivating compositions that catch the eye. “I love it when people spend time looking at an image, having fun within it and with its details,” says Sergio del Puerto of Serial Cut. “And also I like when they can't figure out how it was done, whether it's real or digital.” Usually it’s a combination. Usually Serial Cut will use both photography and CGI illustration to build a final image. But not this time. Each of the images are completely computer generated compositions, painted pixel by pixel into the final creation.

    Focusing on child safety, online shopping, and the flow of traffic, Cisco and Serial Cut are bringing attention to moments in our lives that are so common and every-day that we barely have the brain space to notice they could get better. These events are such seamlessly inherent parts of our lives that it’s almost unbelievable they could change. Cisco proposes that the ways we handle these issues now are already outdated, and it’s time to shift the way we see them. Serial Cut’s demonstration of this proposition is to make us see familiar objects with completely new composite parts. The car they’ve created to avoid traffic is created entirely from circuit boards. A teddy bear is wired in a way to communicate information through ports and connections, like if it’s been recalled or needs a design shift. A shopping bag is reimagined as a server, dynamically reshaping itself to keep customers happy and streamline the systems. When asked why they chose to illustrate these images and ideas in this way, Sergio’s response may be surprising. “I never felt like an illustrator but an image-maker,” says Sergio. It’s more than just creating a picture, but telling the story.

     

  • 2.11.15

    Serial Cut Amplifies Your World

    Everyone has a different relationship with the music they listen to. Whether they jam out getting ready for a big night out, or to set the perfect mood at a dinner party, or to totally unplug from their hectic day, music can be a tool. A tool to express yourself, to calm yourself, to shift your mind frame. It acts as recalibration, a magnifying glass to whatever is being plugged into it.

    House of Marley, the speaker and headphone company, wanted to introduce their Liberate portable Bluetooth speaker using the transformative power of music. If music can change your world, a portable speaker can change any world it’s introduced to. CGI studio Serial Cut was tasked with creating the spot that would illustrate those ideas.

    The biggest clue the piece gives us about what Serial Cut is getting at is the first line of the animation’s voice over. It suggests, “Open your eyes, what do you hear?” The internal conflict of the statement is that we do not listen with our eyes, or see with our ears. But what if we did? What would we see with our ears? What would we hear with our eyes? Serial Cut dove directly into these questions, constructing a world that transcended reason and played directly on what music has the potential to ignite within ourselves.

    With a name borrowed from the King of Reggae, Bob Marley, the stereo company is committed to quality, being earth-friendly, and cause-minded. Serial Cut drew on these tenants when bringing together their CGI piece. The whole setting of their piece shows people and wildlife in balance with the natural environment around them. The lines are as clean as the constructs, with the voice over begging us to, “Come closer, to the place where everything is reimagined.” And everything is reimagined: from friendly crustaceans, to a self-playing drum set, to waves of sound concretized into solid banners.

    Each of these elements is, as the voice over says, “your world, amplified.” Every idea, every relationship, is turned up to the best possible version, showing us what music can do and how Serial Cut can show it to us.

  • 12.11.14

    Serial Cut Gets Messy for Sonos

    Music can change everything. The right song at the right time can alter an entire day, fill a whole room with joy or sadness. It speaks a language all its own, communicating past color and form. It is direct language into the emotional life of people. So how do you turn that into an image?

    Serial Cut, the CGI and design studio, was tasked with this very question when Sonos came to them to help spread the word on their newest line of wireless speakers. It was a tall order. “Sonos wanted us to showcase that the product changes the environment of the room, of your home,” says Sergio del Puerto, founder of Serial Cut. “That’s the main goal.” Through a six round process of CGI compositing, Serial Cut finally settled on four different looks to express all the ways music can affect a space. “Each visual needed to be super different, but at the same time part of the same family,” Sergio says.

    In the final product, they ended up using relatively little CGI, achieving the looks using a lot of creative photography and digital composition. Two of the final images don’t use any CGI at all. Both the “Gold,” and “Paint” images are all from live photography that they stitched together on the computer. Serial Cut opted to go with a pure photographic look for those images in particular to achieve what Sonos was hoping for. “They wanted something with a lot of detail,” says Sergio, explaining that this approach will give them that. “We like to get second looks. When you look at first there’s the “Wow Effect” like “Wow, what is that?” And then looking again at all the details.” Liquid splashes in a hundred different directions to capture the feeling of movement and energy. And they earned every splatter.

    To achieve these looks, as you can see in the Behind The Scenes video, they worked with a lot of liquid. For the gold, they made a pool of gold paint and using a combination of dropping the actual product into the paint, and jets to fire it, they achieved the movement. For the Paint, they filled up balloons like water balloons, and threw them at the wall (with pins in it to ensure proper popping). Hundreds of photographs all came together to capture the smooth movement in an otherworldly type of way. And they got a little messy along the way.

    For both “Plants” and “Blocks” they started with constructed environments, and then used CGI to seamlessly meld the look into a manipulated reality. For the blocks, the pieces closest to the speakers are real, and as are most of the plants. It was just the details that they finished up in the computer, adding an extra level of alternate reality, inviting the viewer into the world that’s been changed through sound.

    Sergio explains that they had a lot to do, and like most projects they had to complete it fairly quickly. Deadlines are deadlines, but, as Sergio says, “it was really fun.”

  • 9.18.14

    Serial Cut Divulges the Secrets of the Yellow Pages

    Cities are puzzles. To the experienced inhabitant a city is home, and they know the secrets of their city – where to find the right restaurant, an unknown outside lounge, or the best tailors. YP, “the even-more-powerful Yellow Pages,” has always unlocked the secrets of cities and towns for generations, and as we move to mobile technology and seeing the world through our handheld devices, YP is right there with us. They’ve put their encyclopedia of information, plus a number of additional product features, into an app that provides utility and convenience for their users, allowing consumers to get through their to-do list.

    One of many ways the brand is manifesting how YP can help people do just about anything is with an ad takeover of the Grand Central Terminal in New York City, featuring artwork by Serial Cut. The YP app offers an immense amount of power for the user. It can help the user see a city in a totally new way or maybe even help them build a rocket to the moon.

    Focusing on the big questions like “Can the YP app help you get to the moon?” or “Can the YP app help you upgrade your commute?” allowed Serial Cut’s illustrations to come to life. It’s a whimsical, detailed look at how every day items can turn into totally different tools once you activate them for other uses. 

    Through the lens of YP Can Do That, the city opens itself and becomes a manageable, tangible place, accessible to any user. This idea isn’t a simple one to communicate visually. “This project - to show NYC the power of the YP app - was one of those concepts that we knew would be visually stunning,” says Brad Kayal, Senior Art Director at barrettSF who contracted Serial Cut for the collaboration. “We knew pretty quickly that the team at Serial Cut understood the warmer, more human CG style we wanted and they worked with us day-in-and-day-out creating these amazing mini-experiences that, for the first time in a flat medium, helped us really communicate all the amazing things that YP can help you do.”

  • 8.8.14

    Serial Cut Cuts it up for Oreo Mini

    Serial Cut is mainly known as a CGI studio because their final images push the limits of what is tangibly possible in the real world. Every job from Ikea to Nike combines CGI and practical photography into surreal worlds and situations that provoke emotional responses. Their Christmas campaign for Ikea last year featured floating islands of gifts, insanely balanced flatware, and curvaceous Christmas Trees. Their “Cabinet of Curiosities” featured an impossible Rube Goldberg machine with fake hands and ampersand tubes fighting against gravity. Both of these projects were rooted in photography, with elements added later to edge them into the limits of the imagination.

    Their latest project, this time with Oreo Mini through The Martin Agency, was slightly different. The advertisements they created for the newest version of the iconic cookie were almost entirely practical. Although they look like they could be illustrations, they’re actually photographs of paper craft construction. They’re almost 100% cut paper that has been sculpted into three-dimensional representations. The CGI? The signature texture on the tiny Oreos. They drew them on to make sure the detail was perfect.

    “I enjoy visual impact – the 'whaoo effect,' as they say,” says Sergio del Puerto of Serial Cut. “I love it when people spend time looking at an image, having fun within it and with its details. And also I like when they can't figure out how it was done, whether it's real or digital.” The Oreo Mini campaign fits squarely into that central conflict, blurring the line between reality and fabrication. By creating an entire scene of paper that stretches to each edge of the frame, the view is plunged into that aesthetic with no frame of reference. It’s unbalancing, but exciting. It highlights the playful nature, the cartoonish feeling that comes with eating a bite sized version of America’s Favorite Cookie.

    Serial Cut is not constrained to any particular discipline, using paper cutting, found objects, sculpture, illustration, CGI. For Sergio and the team at Serial Cut, it’s not about loyalty to a process or technique, it’s about getting an image that elicits unexpected responses. “I never felt like an illustrator but an image-maker,” says Sergio. At the end of the day, everything is in service to the final product. 

  • 4.24.14

    Serial Cut Takes Qantas to 'Ausmerica' With Print and Motion Campaign

    Qantas spelled out its extensive network of services from Australia to Los Angeles, Las Vegas, Dallas, and New York with a print and motion campaign by Serial Cut.

    "Droga5 came to us with the word 'Ausmerica' – a portmanteau of Australia and America – and asked us to create the lettering, and to fill each letter with a different landmark that would illustrate a journey," said Serial Cut's Sergio del Puerto. "The creatives told us, 'The first letter should be Sydney, the second should be the interior of the aircraft,' and so on, and we submitted our interpretations."

    Following the sketches' approval, the team dropped "Ausmerica" into Cinema 4D. "Some of the letters were more difficult than others, like the Hollywood 'M,' " del Puerto noted. His favorite was the "C," which shows yellow cabs whipping around the curve.

    Serial Cut also animated the key-visual narrative in a pair of commercials – a 15-and a 30-second-long spot.

  • 4.24.14

    Serial Cut Takes Qantas to 'Ausmerica' With Print and Motion Campaign

    Qantas spelled out its extensive network of services from Australia to Los Angeles, Las Vegas, Dallas, and New York with a print and motion campaign by Serial Cut.

    "Droga5 came to us with the word 'Ausmerica' – a portmanteau of Australia and America – and asked us to create the lettering, and to fill each letter with a different landmark that would illustrate a journey," said Serial Cut's Sergio del Puerto. "The creatives told us, 'The first letter should be Sydney, the second should be the interior of the aircraft,' and so on, and we submitted our interpretations."

    Following the sketches' approval, the team dropped "Ausmerica" into Cinema 4D. "Some of the letters were more difficult than others, like the Hollywood 'M,' " del Puerto noted. His favorite was the "C," which shows yellow cabs whipping around the curve.

    Serial Cut also animated the key-visual narrative in a pair of commercials – a 15-and a 30-second-long spot.

  • 1.21.14

    Serial Cut Goes 'Lunar Ballistec' for New Nike Campaign

    Serial Cut contributed to the story behind the new Nike Lunar Ballistec, "one of the lightest and fastest tennis shoes ever made," according to the sports apparel giant.

    "Nike wanted to create a sort of sci-fi and spy narrative surrounding the footwear's design," said Sergio del Puerto. "Our team provided sketches of a capsule that would contain the shoes; it was a polygonal, almost diamond shape, with a sneaker-sole-like base." Once approved, Serial Cut used 3ds Max, Cinema 4D, and Photoshop to place the capsule in several scenes: by the hands of a lab technician at work, strapped into a cargo area, and next to the newly born Nikes.

    Del Puerto was extremely pleased with the final images and the overall experience: "It was incredible to work on a Nike project, especially this, which allowed us the freedom to invent quite the tale about a pair of shoes."

    The Nike Lunar Ballistec has already graced the feet of Roger Federer at the Australian Open.

  • 12.17.13

    Serial Cut's Cuentos de Navidad for IKEA

    IKEA enlisted Serial Cut to promote its range of Christmas products to its Spanish-speaking audience with a trio of interactive stories: "La FRAKTA Mágica," "El Bosque Debajo De La Mesa," and "La Navidad Que Fui Duende." (Click Empezar at the links to start.) The revisions of traditional tales included floating elements, like ornaments, stars, and presents; stacks of toys and dishes; and fir-lined backdrops created by Sergio del Puerto and his team of 20.

    "We had complete freedom, except for the overall themes (living room, kitchen, and office), which were determined by IKEA to keep the voice of the catalogue," the creative director explained. "We rented a warehouse for three weeks and used a bit of improvisation – sketching while mounting the scenes." Serial Cut also made the interior images for each cuento. "It was really a pleasure," del Puerto added. "It's unusual for a big client to approve first or second attempts, but IKEA believed in our vision."

    Credits:
    Photographer: Paloma Rincon
    Production: The Mushroom Company
    Agency: VisualNoise

  • 9.12.13

    Serial Cut's Cabinet of Curiosities for TEN

    Serial Cut has teamed up with TEN – a creative, digital, and educational project by Fotolia that aims to democratize digital art – for September. The studio's image "Fake Drawers," inspired by Renaissance Europe's cabinets of curiosity, could be downloaded gratis for 24 hours as a Photoshop document. "TEN, as in 10 artists, 10 countries, 10 months, and 10 PSDs," explained a press release. "Each user can access the set of layers, graphic elements, and style effects held in each PSD, and appropriate them to use them in his or her own work." 

    "I wanted to create a kind of freaky laboratory and that's how the idea started," SC's art director Sergio del Puerto said. "I enjoy visual impact – the 'whaoo effect,' as they say. I love it when people spend time looking at an image, having fun within it and with its details. And also I like when they can't figure out how it was done, whether it's real or digital ... this is a scene where there is movement, things happening. We like it because it tells a story, a simple one, but there's something there."

    Del Puerto used 3D elements and photos. He designed the framework in Cinema 4D and plugged in a collage of Fotolia pics made in Photoshop. "We added the stool, the tree on the right, the Polaroid, the grid," he noted. "The 3D elements have common characteristics, but the photos have their own lighting and colors – they have been Photoshopped by their authors and we have to work with those details. An incorrect shadow, a poorly-oriented reflection ... these are defects that would be very noticeable." 

    He decided to participate in the TEN project because of its international reach. "I also like that there are other designers; together we're helping it grow," he added. "And for the designers [TEN users] who are learning, I know they appreciated it. I'm happy to share our work with them so they can see it and download it. I think it's particularly interesting with our work, which is very thorough and detailed."

    Get to know Serial Cut in the video or watch a TEN tutorial (en español).

  • 8.5.13

    B&A in 200 Best Digital Artists Worldwide

    Four B&A talents are featured in Lürzer's Archive's 200 Best Digital Artists Worldwide.

    Coherent Images was included for a set of futuristic bugs created to advertise a Bayer insecticide. "I paid special attention to detail in hi-res rendering," Thomas Simpfendoerfer explained. "I wanted the insects to look 'natural' also in exhibition panel size reproduction. 'Natural' is an important, but ambivalent word for us CGI artists. We are of two minds, as the object is digitally made, but should be utterly convincing, as if it could exist in our natural environment." 

    Serial Cut's ad for L'Auditori, home of the Orquestra Simfònica de Barcelona i Nacional de Catalunya, fell under the volume's "Objects" section. "The shapes coming out of the box represent classical instruments, but, at the same time, the shapes are not totally clear, though they appear tactile," Sergio del Puerto noted. "We leave it to your eye to draw them." 

    Ars Thanea's work for Discovery Networks, Disney, and Nvidia received recognition.

    A trio of projects by Lightfarm Studios was also selected: a promo for Sony 3D Television meant to capture an OMG moment frozen in time; an extraordinary visual for Radio New Zealand's classical music battle that depicts the frontline struggle between two scores; and an advertisement for So Good Almond Milk. "We originally thought about photographically shooting the glass and milk elements, however we decided the best outcome for reflection control would be to create it in CGI," Denny Monk remarked. "We also found that once all of our almonds were in place, a slight hiccup occurred ... with so many of the same-looking objects put together so closely, an interesting moiré pattern appeared. With the flexibility and control via CGI, we were able to quickly remedy the issue." 

    Read about B&A in Communication Arts' Photo Annual here.

  • 6.10.13

    HEAVY LIFTING WITH SERIAL CUT AND V35

    Serial Cut and V35 join forces to give the Madrid-based gym a full body makeover. Despite having a reputation of being one of the best gyms in Madrid for over a decade, V35 recently decided to update their image – that’s where Serial Cut comes in.

    Serial Cut revisited V35′s logotype and used the letter “V” for inspiration. From there four CGI images were created, one for each season:

    Spring: a tasty green apple
    Summer: a Neapolitan ice cream with a cherry on top
    Autumn: a suave gentleman’s shirt
    Winter: a glacier with a gift-wrapped polar bear

  • 2.26.13

    Serial Cut's Sharp Design for Bonnaroo

    Music! It has the ability to move people, both physically and emotionally. It's serious stuff that people want to immerse themselves in and travel all the way to the Bonnaroo Music & Arts Festival 2013 to experience. This year, festival organizers SuperFly Presents asked Serial Cut to flex their design muscle to create the official Bonnaroo branding guidelines and promotional poster.

    Serial Cut put together a sharp design scheme that makes the Bonnaroo brand instantly recognizable. Splashes of colorful paint and fun elements like a ferris wheel wearing pants convey the four-day music festival's commitment to keeping things fresh and also a little bit odd. Superfly Presents' Art Director Suzannah Snell enthusiastically spoke about her experience working with Serial Cut (and rightfully so): "We've always wanted to collaborate on one of our identities with Serial Cut. Their work is remarkable, explosive and pristine. In creating our identity this year they crushed it by epitomizing Bonnaroo as the unique festival experience that it is in a way that targets our young, fun, intelligent audience. We couldn't be happier. Collaborating with Sergio in Madrid was truly a pleasure. They're on top of it to the very last detail."

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