Earlier this year I had the opportunity to work with Wundr Studio helping with some art direction and animation on a project for Hennessy and their ‘Never Stop Never Settle Society’ campaign.
The campaign is aimed at creating a platform for black entrepreneurs to receive funding, mentorship and access to amenities provided by Hennessy’s program.
With a tight turnaround of two weeks, I helped create storyboards, animatic, edit and the final 3D renders for the piece.
More information about the fund can be found here: hennessy.com/en-us/never-stop-never-settle-society
As a personal endeavour through 2021, I began chipping away at a 36 Days of Type project. The event happens every April, however with multiple ongoing projects it took a little longer to finish all 36 pieces than anticipated! Each letter began with a 3D/Design term and a typeface using the same letter.
Coffee & TV’s Motion Design department were asked by William Hill to breathe new life into archive footage of British horse racing highlights.
With creative direction from Coffee & TV’s Steve Waugh, the team used various techniques to create a filmic and gritty sequence.
CLIENT | William Hill
WILLIAM HILL CREATIVE DIRECTOR | Angus Gordon
WILLIAM HILL PRODUCER | Bumble Davis
PRODUCTION & DESIGN | Coffee & TV
CREATIVE DIRECTOR | Steve Waugh
VFX | Steven Kelly
PRODUCER | Lydia Evitt
During the summer, up-and-coming streamer Lucid Mist got in contact looking for a streaming package for his new Twitch channel. Coming from the now-defunct Mixer service where they had garnered over 1k followers, they were after a rebrand and gripping intro to create some hype for fans old and new.
The package included a logo, countdown timer, a 45 second intro, transitions, webcam overlay, animated backgrounds, intermission template, alerts and sub icons.
This is an ongoing partnership, so more material will surface on this page as and when completed.
Lucid Mist Twitch
From September 2019 until May 2020 I was lucky enough to work at Territory on an array of 3D, UI and graphics for Brave New World. With solid Art Direction from Daena Lorne, we were set to create a world full of high-end UI with plenty nods to optics and aberration.
Highlights include a fairly complex holographic map sequence, R&D of the caste signifiers and HUD system which was implemented across multiple shots, and some quirky titles for the Savage Lands ‘Thanks Buddy’ commercial.
It was great to work with a top team of compositors, editors, designers, producers and 3D artists who kept the quality bar so high.
On 2 May 2019 Trinity College Dublin launched Inspiring Generations — the largest philanthropic campaign ever undertaken on the island of Ireland. The Campaign ambition is to raise €400 million in philanthropic funding for transformational university projects and inspire 150,000 volunteer hours from the global Trinity community.
Framestore worked together with Creative Agency Boys + Girls to deliver this promotional motion piece to coincide with the launch of the campaign. Led by Director Sharon Lock, the piece is an insight into the past, present and future alumni of Trinity, showcasing their heritage as much as their leading research and creative schools.
The entire project was created in After Effects using plenty of hi res source material, and offset on 2.5/3D planes to give a depth and parallax to the shots.
Credits
Sharon Lock | Director
Steven Kelly | Design and Animation
Jake Hardiman | Design and Animation
Helen Hughes | Head of Advertising
Laura Penta | Producer
Lucy Grist | Producer
Title sequence designed and directed by Framestore Design Studio for Nat Geo's docudrama MARS.
Created using After Effects and Cinema 4D.What was initially a 2D abstract exploration of Mars inspired by aerial and satellite imagery captured by the HiRISE camera, grew into a piece with a more narrative approach whilst still keeping in elements of abstraction.The main brunt of the work was created in After Effects, with some of the more literal 3D imagery being done in C4D and then heavily comped. We also created Rorscharch ink tests which were a nod to the duality of the protagonist twin sisters, and also the two planets Earth and Mars.
Awards
FILM CRAFT: ANIMATION FOR FILM ADVERTISING
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CRAFT: BEST MOTION/TITLE GRAPHICS
Director | Sharon Lock
Design & Animation | Dan Herlihy, Steven Kelly, Marc Smith, Charlotte Quillet
Producer | Niamh O'Donohoe
Title Music | Nick Cave and Warren Ellis
Client | Adidas
Agency | Bleacher Report
Director | Anton AlfyProduced by | Anton Alfy
3D Animation | Mark Phillips, Amøbe
Cel Animation | Khammy Vilaysing
Graphic Design | Matheus Masello
Illustration | Barrilete Cósmico
Motion Design | Steven Kelly, Anton Alfy
Cameraman | Yemi Sawyerr
Sound Design | Michael Pacheco / Something Noisy
Main Titles created for OFFF Mexico. Working to a completely open brief, this is an experimental piece created in C4D and rendered through Octane. Comped in AFX.
My role as Lead Design and Edit involved character posing in Daz3D and camera placement in C4D, early previz and intitial R&D. I was then in control of the edit for the majority of the project through to completion, along with some comp work in AFX.
Concept + Direction | Sharon Lock
Design Director | Stephen Goalby
Lead Design + Edit | Steven Kelly
Art Direction + Design | Dan Herlihy
Designers | Philip Rambowski, Yukari Schrickel, Louise Walker, Nikola Yordanov
Fire dress modelling | Alice Roseberry- Haynes
Houdini FX | Deniz Cinar
Colourist | Steffan Perry
Audio | Jon Dix
Framestore Labs and Design team created two installations for the Valentino Exhibition at Somerset House. The first was an animation based on Valentino’s designs that takes you through some of his most iconic work. We projected it onto a five metre rose, developing our own software to make sure it mapped perfectly onto the giant three-dimensional structure.
The second was an atelier table that displays an animated timeline of Valentino’s career. Images are projected from four synced projectors, with the installation designed and animated so visitors can enjoy the experience from all sides of the table.
Production Company | Framestore
Production | Jonny Dixon
Installation Director | Robin Carlisle
Art Director | Anthony Gibbs
3D Artist | Paul Jones, Rob Harrington
2D Animation Atelier Table | Steven Kelly
3D Animation | Chris Welsby
Hardware | Karl Woolley
Framestore have had a long running history doing the TV Broadcast Package for Comic Relief/Red Nose Day.
In 2017 I was given the opportunity by Creative Director & Head of Design, Sharon Lock, to lead and art direct the project for that year. After a late brief change, we were approached to create a package that felt edgy, cool and more 'in your face'. The final chosen proposal was a cut & paste style taking inspiration from punk DIY mags, Dada and bricolage to make something modern but tactile.
The final delivery involved a few animated sequences and a large amount of still work for use on their studio screens, as well as versions for broadcast.
Lead Designer | Steven Kelly
Designer | Louise Walker
Design Assistant | Leah Selby, Katie Rose Murphy
Senior Producer | Niamh O'Donohoe
Executive Producer Red Nose Day | Suzi Aplin, Colin Hopkins
Producer Red Nose Day | Tom Corrigan
Edit Producer Red Nose Day | Stephen Yemoh
Assistant Producer Red Nose Day | Amy Billings
Our role started at treatment stage, with the five day shoot presenting greater design opportunities than originally planned.
The eight spots required a delicate balance between fore- and background elements, as Goldblum's satirical (and often ad-libbed) musings take their place against different graphic backgrounds.
The anticipated 2D background elements were replaced entirely with an infinite black shiny floor created in CG, with further background elements for each spot designed and added separately.
The team used AFX, C4D and Maya, whilst the final composite was created in Nuke.
My key role was creating styleframes and concepts in After Effects & Cinema 4D, along with some of these elements being taken for final comp in Nuke.
Agency | RPA
Creative Director Framestore | Sharon Lock
Agency Producer | Joshua Herbstman
Production Company | Anonymous Content
Director | Tim Godsall
Producer Framestore | Andrew McLintock
CG Supervisor | Mike Bain
Animation | Caleb Ollivant
Tracking | Tommy Taylor
Design & After Effects | Steven Kelly, Rav Matharu
Framestore provided the VFX, integrating the golden elemental ‘charges’ across the athletes’ bodies as they train. Built on the concept of athlete + water + Speedo = gold, the connectors echo the build of periodic elements, and were designed and animated into the live action footage seamlessly in-house.
My role was using After Effects to create the gold Plexus glitching effects that happen throughout the second half of the film. We intended to use 3D animated OBJ sequences, however the models we had proved too inaccurate so a majority of the shots were tracked in After Effects and manually animated.
Agency | iris
Executive Creative Director | Andy Taylor
Agency Producer | Jessica Reynolds
Production Company | Framestore Pictures
Production Company Producer | David Hay
Director | Mike McGee
Producer Framestore | Leigh Warner
VFX Supervisor Framestore | William Bartlett
Art Director | Jonny McKerney
Copywriter | Stuart Sinclair Nightingale
Production Assistant | Toby Walsham
Director of Photography | Stuart Bentley
Editor | Lizzy Graham (Marshall Street Editors)
Sound Design | Ben Gulvin (750)
Design | Anthony Gibbs
After Effects | Steven Kelly, Rav Matharu
Colourist | Edwin Metternich
WARNING: Contains flashing images
Music Video for the song Facemelter by the band In Oceans
This was part of my final delivery at University, exploring the techniques and effects of datamoshing & databending
A lot of hours involved chopping video, deleting p-frames and forcing imagery through different programs. The final edit was cobbled together in Final Cut, After Effects and Apple Motion
Jack the Lad EP:
In 2016, Framestore created a bespoke title sequence for Channel 4's Formula 1 coverage. They wanted a piece that stayed true to the brand and would please F1 fans, but also felt modern and fresh to match Ch4's younger demographic.
The process involved manipulating and glitching footage from a base edit provided by Whisper Films, along with the addition of extra footage to create the double exposure effect seen across many of the shots.
We also provided integrated animated typography specific to each race of the season. The titles have been updated for every year of Channel 4's coverage.
Production Company | Whisper Films
Production Company Producer | Tim Hampell
Executive Producer | Sunil Patel
Director | Richard Gort
Producer Framestore | Niamh O'Donohoe
Director Framestore | Sharon Lock, Ian Spendloff
Designer Framestore | Dan Herlihy, Steven Kelly
Framestore’s Design Studio worked with MTV to create a 20” introduction to the media giant’s own energy drink, MTV UP!, as part of the product’s UK launch.
My role in the project was mainly comp in AFX for multiple shots, along with animation of pack shot assets.
A 9 month long project art directed by Nawaz Alamgir, I worked on National Geographic’s groundbreaking six-part global event series MARS.
Work was broken into two phases pre and post and production with over 700 screens delivered for the show. I was mainly part of the pre-production phase where 80 screens alone were designed for on set in for Mission Control as well as screens for the space ship "Daedalus" and the Mars rover.
My role was additional design and animation for the Mission Control screens which would be shot through camera on set.
Credits
Art Direction and Design | Nawaz Alamgir
Additional Design and Animation | Steven Kelly, Dan Herlihy
Design Producer | Niamh O'Donohoe
VFX Coordinator | Hannah Critchley
Music | Adam Fielding - An Uncertain Future
Part of my university final year explorations into datamoshing and databendingFound imagery and personal illustrations were combined and manipulated in the program Audacity as RAW file types and then imported into Photoshop where I hard-scaled them to A2 ready for print.
In 2014, D&AD commissioned me to do a short animation for their annual New Blood Academy.
They provided me with an audio snippet from an interview with high profile creative Andy Sandoz about what he felt the benefits were for graduates who attend the New Blood Academy. After that, they let me loose on how I wanted to visually approach the film.
The New Blood Academy takes the best talent selected from the D&AD Student Awards and New Blood Exhibition. For two weeks, these guys are launched into workshops, live client briefs, talks and hacks, aimed at preparing them for the transition into their first job.
In 2012, I entered the New Blood Awards category to create an advertising campaign for the company, Pitch & Sync.
My idea was to take what the company did (music supervision, licensing, and generally handling the audio side of things) and turn it on it’s head a little; to make short idents that show how crucial music and sound is to create the right atmosphere. These short idents were made with the intent to go viral, using juxtaposition to alter and parody the original videos. One of them kinda went viral (minus the P&S logo)
Awards
NEW BLOOD YELLOW PENCIL
