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SHINE Designs a Masterpiece for Nat Geo’s “Genius: Picasso”

Genius: Picasso main title sequence for Imagine, Fox21 and NatGeo

LA-based SHINE designed, filmed, edited and animated the main title sequence for Genius: Picasso, a biopic event series about Pablo Picasso. Shine developed a concept that employed original photographed and filmed paint textures that make up images of Picasso’s life, relationships and work.

Genius: Picasso stars Antonio Banderas in the titular role – as one of the 20th century’s most influential and celebrated artists, who interpreted the world in new and unorthodox ways, and reinvented our perception of creativity in the process. The second season of National Geographic’s 10-part, Emmy-nominated global event series, Genuis, explores how the Spanish-born artist’s passionate nature and relentless creative drive were inextricably linked to his personal life, which included tumultuous marriages, numerous affairs, and constantly shifting and personal alliances. Genius is executive produced by Ron Howard and Brian Grazer, and created by Ken Biller.

Pablo Picasso (October 25, 1881 to April 8, 1973) was a Spanish expatriate painter, sculptor, printmaker, ceramicist and stage designer considered one of the greatest and most influential artists of the 20th century and the co-creator, along with Georges Braque, of Cubism. Considered radical in his work, Picasso continues to garner reverence for his technical mastery, visionary creativity and profound empathy. Together, these qualities have distinguished the “disquieting” Spaniard with the “sombrepiercing” eyes as a revolutionary artist. For nearly 80 of his 91 years, Picasso devoted himself to an artistic production that he superstitiously believed would keep him alive, contributing significantly to — and paralleling the entire development of — modern art in the 20th century.

Pablo Picasso remains renowned for endlessly reinventing himself, switching between styles so radically different that his life’s work seems to be the product of five or six great artists rather than just one. Of his penchant for style diversity, Picasso insisted that his varied work was not indicative of radical shifts throughout his career, but, rather, of his dedication to objectively evaluating for each piece the form and technique best suited to achieve his desired effect. “Whenever I wanted to say something, I said it the way I believed I should,” he explained. “Different themes inevitably require different methods of expression. This does not imply either evolution or progress; it is a matter of following the idea one wants to express and the way in which one wants to express it.”

Art critics and historians typically break Pablo Picasso’s adult career into distinct periods, the first of which lasted from 1901 to 1904 and is called his “Blue Period,” after the color that dominated nearly all of his paintings over these years. At the turn of the 20th century, Picasso moved to Paris, France — the cultural center of European art — to open his own studio. Lonely and deeply depressed over the death of his close friend, Carlos Casagemas, he painted scenes of poverty, isolation and anguish, almost exclusively in shades of blue and green. Picasso’s most famous paintings from the Blue Period include “Blue Nude,” “La Vie” and “The Old Guitarist,” all three of which were completed in 1903.

Art critics and historians typically break Pablo Picasso’s adult career into distinct periods, the first of which lasted from 1901 to 1904 and is called his “Blue Period,” after the color that dominated nearly all of his paintings over these years. At the turn of the 20th century, Picasso moved to Paris, France — the cultural center of European art — to open his own studio. Lonely and deeply depressed over the death of his close friend, Carlos Casagemas, he painted scenes of poverty, isolation and anguish, almost exclusively in shades of blue and green. Picasso’s most famous paintings from the Blue Period include “Blue Nude,” “La Vie” and “The Old Guitarist,” all three of which were completed in 1903. In 1899, Picasso moved back to Barcelona and fell in with a crowd of artists and intellectuals who made their headquarters at a café called El Quatre Gats (“The Four Cats”). Inspired by the anarchists and radicals he met there, Picasso made his decisive break from the classical methods in which he had been trained, and began what would become a lifelong process of experimentation and innovation.

Shine Tells the 144-Year Story of Prudential

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LA’s Shine collaborated with the creative team at Prudential to tell the story of the company’s 144 year heritage of working with people to strengthen communities around the world. Prudential is a financial giant with a workforce of over 40,000 worldwide. With its early roots in providing insurance and financial independence for the working man, they have been a financial force for making the world a better place for all.

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The Shine team collaborated with Prudential Advertising on a five-day shoot in and around the studio on Miracle Mile in Los Angeles. Shine’s historic 1927 Art Deco building was a versatile location for both interiors and exteriors. The agency, the design team and the talent proved to be a great recipe for collaboration over the three separate shoot session. Shooting happened downstairs while editorial and animation fluidly took place simultaneously upstairs in the editorial suite.

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Nothing can prepare you for – “THE CHICKENING” !

Update: 1M views on YouTube

The Chickening

World-premiered at the Toronto Film Festival, US-premiered at Sundance this past Sunday night and Schaffer/Rogers premiering RIGHT HERE!  Fantastically sick short film from filmmakers Davy Force + Nick DenBoer.  We proudly represent Davy Force for spots + branded content at 6 POINT MEDIA

You haven’t seen “The Shining” until you’ve seen it infused with chickens!

The Chickening is the first of its kind in remixed, augmented cinema. It is a theatrical trailer for a fictional film in which Stanley Kubrick’s classic film The Shining has been artfully transformed into a new, poultry infused comedy adventure by digitally altering the film to create a new narrative. This new style of filmmaking is a hilarious collision of classic films with modern day visual effects; “Cinegraffiti” — the ultimate neonostalgic visual feast for this digital age.

The Chickening

Fun review + interview from film blogger Scott Wampler below:

The Chickening

NOTHING CAN PREPARE YOU FOR “THE CHICKENING”
Directors Nick DenBoer and Davy Force have created something you simply have to see to believe.
By Scott Wampler Jan. 26, 2016

I have attended Fantastic Fest for many years now, and lemme tell ya: during that time, I have seen a thing or two. I’ve seen courageous feats of karaoke. I’ve had unexpected run-ins with weirdo celebrities. I’ve seen food fights, I’ve seen actual fights, and I’ve had my face melted right the fuck off by the world’s greatest Satanic marching band.

I’ve also had my mind blown by more movies than I could possibly count (if there’s one thing Fantastic Fest does better than anything else, it’s that), and at Fantastic Fest 2015, the most mindblowing bit of filmmaking I encountered was a short film by the name of The Chickening.

At Fantastic Fest, this short (directed by Toronto-based filmmakers Nick DenBoer and Davy Force) was paired with Anders Thomas Jensen’s Men & Chicken, and…well, to say “it took everyone by surprise” would be a massive understatement. The crowd I saw this short with went bananas. We talked about it for months afterwards, hoping that it’d eventually make its way online, where it might be shared with the rest of the world. Today’s a big day for some of us.

It’s an especially big day for The Chickening’s creative team. I was fortunate enough to speak with Nick DenBoer over the weekend, and he agreed to answer a few of my stupid questions about his incredible short:

First question: why?

Why chicken? I grew up on a chicken farm and then worked in my dad’s poultry butcher shop until I was 17, de-boning and slingin’ chicken carcasses. You can’t shake that shit.

My co-director Davy Force and I have been talking about doing this mega, next-level film remix for years and we finally had some free time last March to bust it out. We’re both animators/vfx artists/remixers and we have collaborated on a lot of similar projects, so this came together pretty naturally. The Chickening is a proof of concept we made to pitch around to studios, namely Warner Bros (hence The Shining) in a bid to create a series where every episode is a different remixed classic film. It’s a lot of fun to do and we think it’s got a lot of viral potential, but obviously there’s a lot of red tape in acquiring and regurgitating Hollywood’s sacred cows.

How long did it take you to put this together?

Davy flew up to my studio in Toronto and we shot the shit for about a week, writing and rough editing to force our new narrative on the original film. We then parted ways and cranked on it for about 2 1/2 months; Davy from his studio in LA and me in Toronto. We collaborated remotely and I assembled it as it came together. This was intended to be a 22-minute piece, but we did this for zero budget in our spare time, so we did as much as we could until it worked as a balls-out trailer. If we made our 22-minute version as intended, the narrative would make a lot more sense, but I think it’s going to live as you see it and we are moving on to the next project.

Wait, is that Kenny Hotz of Kenny VS Spenny fame? Holy shit.

Yes, that’s K-Ho. We’ve been pals for a long time. I worked on Kenny Vs. Spenny and we’ve done a lot of messed up video stuff together.  He’s always down for taking his pants off in front of the camera. Kenny’s been a huge help in selling the idea and getting The Chickening into the film festival circuit. He’s onboard to help write and produce more of this kind of stuff wherever The Chickening takes us.

Is there anything special you’d like to note about the short? Anything we might’ve missed the first time through, or any special behind-the-scenes goings-on that were particularly compelling?

There’s lots you probably missed the first time through. Maybe the pictures of ISIS on the wall behind Jack in the office, or the box of chicken-flavored condoms, or the pile of Tommy Wiseau references. This thing is loaded with Easter eggs and designed to be watched a bunch of times, so you’ll keep seeing new details. Kubrick was like that with all the details, too, and we think – although we sort of defaced his film – that we are still paying homage to a great piece of cinema. We wanted every still of this thing to have a WTF vibe.

Behind the scenes shooting was fun. I took a whole chicken and cut off its head and feet to use as a puppet in the final shot where Wendy is getting attacked. Pretty much everything was shot on green screen and comped. It was all done pretty DIY on no budget, so all the voice actors were pals, so it was a blast shooting the mouth replacements. And the shot of the girls dancing is actually me dancing: I mapped the dresses onto my body and then built the hallway in 3D and projection-mapped a still onto it so I could do some fancy virtual camera work. That’s my favorite shot, I think.  I made the music for that too.

We’ve seen stuff along these lines before – clips from famous films reborn with added effects, bits of one title edited into another – but DenBoer and Force are playing a different game here. DenBoer says the original intention was for The Chickening to be 22 minutes long, a claim backed up by the insane plot synopsis included in the press release I received:

Jack Torrance takes a new job as senior chief night manager for “Charbay’s Chicken World” —a state­-of­-the-­art, volcano­-fried, fast-food poultry production facility and resort strategically built on an active volcano. Jack travels to the remote facility with his wife, Wendy, and 42­-year-­old man­-child son, Danny.

During orientation, Mansturd Nurlman (regional manager of Charbay’s) mentions a new experimental product that is currently under development: “The Shiny” — a brand new BBQ sauce created in the research laboratory deep within the radioactive volcano. Strange things start happening to Jack after he tries the sauce, and he slowly begins morphing into a chicken creature and becomes unstable and aggressive.

Scatmok (a hyper­dimensional alien) conspires with Danny and his little friend Tony (a snarky Italian man who happens to be Danny’s index finger) to steal the recipe for “The Shiny” but their plan is compromised when they realize the horrific side effects of the experimental BBQ sauce. Danny and Scatmok decide they must destroy the BBQ sauce pipeline in order to stop the spread of this condition that has mutated Danny’s father.

Meanwhile, Jack has learned some of the restaurant’s darkest secrets from some of the other employees, including a potential cure for his condition. In the end, the restaurant is destroyed in a spectacular exploding BBQ sauce conflagration, with Wendy, Danny, Tony, Scatmok and a now­-cured but frozen­-solid Jack, who grumpily curses his former employers as they drive off in the Beak-Machine into the sunset.