The amount of technical speak in this business can make anyones head spin. Thats why we explain the pros and cons of each technique in plain english whenever possible. If you still have questions just ask.
3D Cinematics are created using computer-generated characters and realistic backgrounds. But don’t let that scare you. Our focus is on humanizing our characters and having them express real emotions and feelings that propel stories. 12 years ago, we realized that some sophisticated stories could not be told by a 2D Animatic, so we invented the Cinematic. Suddenly, we could move our “camera” within the world we created to tell stories that involved drama, humor, empathy, satire and the full range of human emotions.
2D Animatics are created by editing illustrations together sequentially to tell a story. The animated characters have moving parts to mimic basic human movement, and when needed, we use “lip sync” to deliver dialogue. 2D Animatics are a cost-efficient choice for commercials with straightforward storylines. And because our artists draw specifically from your casting specs, we can capture your characters in a unique and compelling way.
Like an Animatic, Photomatics employ limited animation. But by using actual photographs, we can take the viewer even closer to reality. Although illustration can portray celebrities pretty well, Photomatics replicate their images flawlessly. We’ve recently created Photomatics “starring” A-listers like George Clooney, Kevin Spacey, Danny Devito, Seth Rogen and Amy Schumer. (Come on, Leo. You know you want to. )
Digital / Broadcast are created much like on-air commercials but for a fraction of the cost. Depending on your creative direction, we shoot them in our in-house studio, on location or on a set. We often film actors on a green screen and then place them over a photographic background. Live Tests are good choice when only a 100% authentic human performance will do.
Launch AI are created using computer-generated video and images with the power and flexibility of generative AI technologies.
But don't let our experience and know-how fool you, we still get the same childlike thrill every time a new project comes through the door. But after 30 years, the learning curves are gone along with the frustrations of working with people who are still flipping through user manuals. Not because we're technical geeks-though that's certainly true, but because more options free us up to make the best test commercials possible.
One of the first things we do is to record voice tracks as a rough guide for animation and editing. As visual elements come together, we rough in music and sound effects to bring the story alive. With a world-class record and mix facility -- and voice talent all under one roof, our directors, and editors can collaborate quickly and harmoniously. Close your eyes and you’ll understand.
We don't call them "edit" suites because we also "produce" in them. On a typical project, the director works with the animator, compositor, and editor simultaneously in the same room. It's kind of like conducting an orchestra. Best of all, clients – like you -- get to participate in the creative process as it happens. It’s not just a smarter way to work; it’s also fun. No, really.
If you’ve watched the special features section on Blu-Ray discs, you probably already know what Mo-Cap is. It usually involves people in tight green suits, wearing ping-pong balls, running around in a green studio. Our directors use this technique to capture realistic body movement from different angles and choose the best ones. Our animators then tweak these "motion capture" movements to perfection.
We have a fully equipped, in-house stage for shooting Live Action production or any elements needed for any of our projects. We also have a pretty awesome video village to preview lighting and composites of all our shots. (Note: video village is a footage review workstation not a chain of defunct video stores.) By editing as we work, the whole process moves faster and more efficiently.
In the twelve years since 321Launch invented the 3D Cinematic, we’ve accumulated a vast resource of diverse characters, ethnicities, body types, ages, and wardrobes. With these assets, we can create any character imaginable. Need an octogenarian sumo wrestler that dresses like a bumblebee? No problem.
Frequently, we build our “actors” and environments from the ground up. But when needed, we can also pull from our vast digital library of images. Need a sofa for a scene? We have hundreds to choose from! (Bet you've never heard that before.) Our asset library saves time and frees up creatives and our directors so they can focus on the important stuff – like the action and storyline.