Because creative inspiration comes from the world around us, from our experiences — shared and individual — we post a bunch of things here. Whether it’s updates from the team, behind-the-scenes insights on projects, general inspiration, or just pretty things, this is the best place to get and stay inspired.
Supernaut is a design and animation studio in Sydney, Wollongong and Canberra.
Brand and Messaging
Many people think brand identity (i.e, the visual identity etc) is more important than what a business actually says. When we see pretty things (and like them) it’s easy to get caught up in this way of thinking. Even for the design-minded this can be a logic trap. Younger and less experienced designers often think (and/or actually believe) that those precious design skills and a-la-mode style is more important and will have more impact than the actual message it’s (meant to be) communicating. But … looks aren’t everything, and they’re certainly more than what needs to be shown on the surface.
If a brand has nothing to say, then good looks and great intentions are pretty useless.
For a lot of our brand identity clients — who struggle as much with what to say as how they should say it — our design process has grown to encompass the development of their tone and voice, as well as how they would share their unique stories with the world. It goes way beyond the “simple” look and feel of a brand and explores more of the essence of what drives their company.
While this iDiving into This process I’m about to share with you comes after the brand discovery workshop, where we dive deep into the brand and the ideal customer. The workshop helps us uncover insights about who we’re talking to, their goals and problems, who the brand is, why the brand exists, how they help solve their customer’s problems, and so on.
Once the workshop is done, I begin the fun of writing the high-level messaging to include in the strategy roadmap. These lines are used to guide any written content for the future. It’s especially helpful to have these examples nailed down right from the start since they can be handed over to a copywriter who then flushes out the day-to-day content or develops the messaging portion of the style guide.
Writing for brands:
1. Use common phrases and idioms.
Remember, at this point we just finished the discovery workshop, so we have plenty of information on what we want to communicate and what will resonate with the ideal client.
2. Look up quotes with relevant keywords to spur ideas.
I use Google images to look up quotes with keywords taken from our strategy. That way, I can get a quick read of the quote without having to click on a bunch of links. Keeping in mind who we’re talking to and what they connect with, and knowing that the ideal client enjoys some intelligent wit here and there, I knew I could play with this a bit. I will sometimes search “quotes about _____” or “quotes with____” or “_____ quotes.” In this case, I looked up “quotes about say” which gave me many quotes that then spurred the idea to list off all the different languages that ATS translates.
3. Embrace the objection—the elephant in the room—and then pivot.
During the workshop, we made note of any objections the client may have—one of which happened to be that the ideal client may wonder why they shouldn’t just go for a cheap or free option like Google Translate instead of ATS. There are a number of reasons to not use Google Translate for anything beyond small, day-to-day use (just google “Google Translate fails” and you’ll see what I mean). We decided to call out and embrace the elephant in the room—that online translating services were an option, but then pivot and present the reason why ATS is a much better choice:
“Google Translate may have technique, but we have tact.”
There are many ways to come up with messaging for a brand, but those are my current go-to’s. Some other options are taking things my client says straight from the discovery workshop, while others may require me to do research on TV shows, literature, or catchphrases that would connect with my client’s ideal customer.
I hope you enjoyed this peek into my process. Remember, looks aren’t everything. What you say matters.
In a busy life, Copi is a father who tries to teach the right way to his son, Paste.
But… what is the correct path?
Global virtual reality revenues will reach $7.17 billion by the end of this year, according to a new report by Greenlight Insights, which is also predicting that global VR revenues will total close to $75 billion by 2021.
More than 65 percent of all VR revenues will come from headset sales this year, according to Greenlight. Consumer content will make up for around 12 percent, and VR cameras will make up another 11.6 percent. Over the next five years, the revenue split will slowly shift, with enterprise — think VR for construction companies, education etc. — making up for 24.2 percent of all revenue in 2021.
Greenlight also forecast that location-based virtual reality in malls and movie theaters is going to grow into a significant part of the industry. In 2017, location-based VR will bring in $222 million worldwide; by 2021, that amount will have grown to almost $1.2 billion.
These estimates have to be taken with a grain of salt — it’s a nascent industry, after all. Adding to the uncertainty is the fact that many of the major headset manufacturers, including Oculus, HTC and Google, have yet to release any actual sales numbers for their devices.
Data shared by adult VR video company last week suggested that there may be a reason for why some of the manufacturers have yet to release any sales numbers. Samsung’s Gear VR, of which the company has sold more than 5 million units thus far, outperformed Google’s Daydream VR headset by 13X during the first three months of this year, according to Badoink.
Producing good computer animation can be a lengthy and expensive process. But what if there were ways of speeding up the production time without reducing quality?
French animator Michaël Bolufer has attempted to do just that by adopting the Unity game engine to complete Mr. Carton, a 13 x 2-minute series of shorts. The entire series is available to watch through France Televisions’ Studio 4.
Baobab Studios, the well-funded Virtual-reality animation startup founded by Madagascar and Antz co-director Eric Darnell and Zynga exec Maureen Fan, has announced its first episodic virtual reality series called Rainbow Crow. The first episode will premiere next weekat the Tribeca Film Festival.
Inspired by Native American folklore, the story is follows a bird “with the most dazzling plumage and mellifluous voice, who, after the planet turns dark and cold, must journey far from home to bring light back to the world.” Eric Darnell is directing the project. No public release date has been set for the series, and the number of episodes is not yet determined though the final project will be featurette-length.
Always awesome work … by Art & Graft
A stunning feat in VFX and mocap (well actually a whole range of animation, visualisation, cameras and artists used to create the truly stunning effect).
An animated short film, narrated by two asylum-seeking men detained in Australia’s Manus Island Offshore Processing Centre, recounting the dangerous journeys that brought them to the island and their memories of the riot that erupted in 2014.
In July 2013, the Australian Government introduced a controversial immigration policy, transferring asylum seekers arriving by boat to remote offshore detention centres on foreign Pacific islands. Seven months later, the Manus Island centre erupted in violence when police and guards put down protests with sticks, machetes and guns, and 23 year-old asylum seeker Reza Barati was killed.
We spoke to Behrouz and Omar, who are currently detained on Manus Island. This film contains recordings of these conversations.
AWARDS AND SCREENINGS:
WINNER: Best Short Documentary, Melbourne International Film Festival 2015
NOMINATED: Best Animation, Raindance 2015
SPECIAL RECOGNITION FOR ANIMATION: San Francisco International Short Film Festival 2015
SHORT DOCUMENTARY COMPETITION: Flickerfest 2015
OFFICIAL SELECTION: Palm Springs Shorts Fest 2015
OFFICIAL SELECTION: British Animation Film Festival 2015
OFFICIAL SELECTION: Interfilm, Berlin 2015
View the full film here: vimeo.com/152158702
Thanks for being a part of another great chapter for the Supernaut team in 2015 — as we head toward our fourth year!
We hope you have a safe, happy and relaxing wrap up for year and wish you all the best for the new year ahead.
LA-based artist Refik Anadol has turned the media wall of the 350 Mission Building in San Francisco into otherworldly digital sculptures. The public art work is called Virtual Depictions and uses parametric data from the city to create the stunning visuals.
To do this Anadol used publicly available frozen datasets — on everything from transportation to city management, museum data and housing —put online by the city of San Francisco as part of their open data portal initiative SF OpenData. Meant for developers, analysts, residents, and whoever else wants to use it, Anadol combined it with Twitter’s real-time API service.
The frozen sets of civic data and pedestrians on the urban streetscape are combined with the real-time geolocated Twitter tags — and 3D point cloud data — fed through toolkit VVVV and various software including Cinema4D, Rhino, and Softimage XSI, to create dynamic visuals that are never the same twice.