Minneapolis broadcast design and animation studio motion504 completed the reception sponsor reel for the Minneapolis screening of the AICP Show: The Art & Technique of the American Commercial, which took place Oct. 1.

The inventive title sequence created by motion504 introduces each reception sponsor through a cinematic narrative that imagines the craft of "moving type" via mechanical gadgets that look as if they were built a century ago. Led by creative directors Scott Wenner and Amy Schmitt, motion504 helmed the entire project, start to finish: concepting and storyboarding, directing the live-action shoot, 2D and 3D animation, and lighting and compositing.

AICP Minnesota Show Reception Sponsor Reel (3:30)
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Set in a world with a turn-of-the-last-century aesthetic, the visually striking sequence opens at the storefront of the fictional Verne Bros. Kinetic Type Company. Inside, the elderly protagonist earnestly works away during the wee small hours at his closed shop. His undertakings are a mystery until, suddenly, peculiar kinetic gadgets appear and inexplicably come to life. His compelling conjurations abound in the dusty workshop, as each gadget unravels with science-defying wonder, creatively introducing the AICP reception sponsors, one by one.

Kirk Hokanson, president of the Minnesota Chapter of AICP and executive producer of Voodoo Films, says, "motion504 has made a name for itself as one of the most unique motion graphics companies in the country. In seeking a company to do the AICP Show reception sponsor reel, I approached motion504, and they were very willing. I was thrilled to have them because of their expertise and artistry. We [AICP] allow 100 percent creativity for companies to showcase work, as they contribute a huge amount of work within a short time period."

"The AICP Show brings together the best work in the industry, and it is an honor to have our reel introduce the sponsors that help make the Minnesota screening happen," says motion504 founder Andy Reynolds. "The project was an excellent opportunity to flex our capabilities and do something extra-special, start to finish, with limited creative restraints."

According to motion504, the concept behind the sequence was thematic. After brainstorming numerous ideas, motion504 eventually arrived at one that would speak to its intended audience and showcase what motion504 actually offers to the industry as a company: motion design, animation and visual effects. The end product strikes at the core of motion504's creative forte while illustrating how design and animation can communicate in the realm of broadcast and commercial advertising—through image-driven narrative.

Rather than building 3D models that transform and unfold, motion504 opted instead to create simple machines that look handmade, yet function just beyond the realm of possibility, while retaining their outward purpose as kinetic type. The gadgets, along with production set and props, were designed with Victorian influences to evoke the work of an artisan.

"As a huge fan of films like Delicatessen and City of Lost Children, I love the aesthetic of combining elements from different time periods, mixing the old and the new," says Wenner. "While the period is purposely unknown, this is how we envision the earliest motion graphic designer. The gadgets he creates are curiously self-powered, each with a distinguished look and kinetic function. We specifically designed them to engage and encourage the audience to use their own imagination to explain how the gadgets work."

The studio arranged for a one-day live-action shoot with a RED ONE camera. "Having a snorkel lens was crucial to get the close-ups that we needed to create the right feeling," says motion504 executive producer Eric Mueller. "Our studio worked closely with the production team to ensure the gadgets would look like they belonged in the space. The end result is a visual tour de force."

BWN principal Carl White, who faced the unique challenge of making the devices feel real while still evoking a sense of magic, handled sound design. "BWN did a fantastic job of figuring out how these gadgets would really sound if they existed," says Mueller. "They are true sound artists."

Wenner modeled the 16 3D gadgets in Maxon Cinema 4D, motion504's primary 3D package for graphics. Each unique gadget features Victorian-influenced detail, flourishes and decoration, which Wenner hand-painted in Pixologic ZBrush. Amy Schmitt, who worked closely alongside Scott from the project's outset, including during the live-action shoot, handled a majority of the intensive tracking, lighting and rendering required by the project.

According to Wenner, the biggest challenge motion504 faced had to do with the AICP's only caveat: sponsor names might change at any time during production. This meant the 3D models had to be flexible and interchangeable, and possibly created at a moment's notice.

"The project certainly required us to be nimble, but the creative liberties we were given far outweigh the technical parameters," concludes Wenner. "Creating the AICP Show reception sponsor reel is something we were very excited to do. With everyone involved, we answered the call and created a piece of which we are incredibly proud."