BLURBS / INTERVIEWSMOTION GRAPHICS

Motionweeknight Blurbs / Maurizia Carrera

By July 31, 2020 No Comments

Our featured artist for this installment of Motonweeknight Blurbs is Maurizia Carrera. She is a graphic designer turned motion designer that works out of London and has created a diverse body of work for companies such as Walt Disney, Warner Brothers, Nike and 20th Century Fox. We catch up with Maurizia to see how it is to work in our ever-changing industry.

MW: How did you start out in the industry? What were your firsts (first project, first client, first headache, first triumph)?

Maurizia: I started as a Graphic Designer after uni, and a few years later I did a master’s in Motion Graphics to make the jump into this industry. I moved to London two weeks after my final exam. My very first job here was for an agency called Rewind that specializes in immersive content. In just two days I had a taste of all the above-mentioned firsts, I was so scared but everyone made me feel welcome. I did some tracking and simple animated labels on a 360° footage for the BBC.

MW: What best describes your unique style?

Maurizia: I have been working mainly on client briefs, so the look of the project has been in line with their needs. Recently however I have been striving to do more personal projects; with the goal being to grow and improve, try out different techniques and software, and see what I enjoy doing. From this period of experimentation I may develop a style, but let’s say that’s not the aim.

MW: Are there any artists that have inspired you? If so, who?

Maurizia: There are so many and I keep finding new ones. The first three that come to mind are Beeple for the concept of “everyday”, if I could have a realistic superpower in life I’d love to have that perseverance, Man vs Machine for the marvel they create, and Danny Yount for his title work, when I watched RocknRolla back in 2008 I was fascinated to realize somebody was doing that for a living (I see you interviewed him!).

MW: What tools of the trade (i.e. software and/or hardware, paper, pencil) have been instrumental in your growth as an artist?

Maurizia: At uni I learned the ropes on Flash and 3D Studio Max, those were among the courses I enjoyed the most and it’s there that the seed was planted. It actually took me years to get back to 3D and animation, when I did the master I studied After Effects, Maya and Nuke, now I mainly work in After Effects and C4D. Lately, in my spare time, I’ve got back to a bit of drawing and watercolour, I was missing a more analogic approach.

MW: Any advice for freelance motion graphic artists?

I would say prepare yourself financially, especially if you’re a freelancer, but even if you’re a permanent. It’ll give you the possibility to change, wait, try things, and strengthen your skills instead of having to jump straight into the next gig.

MW: Where would you see yourself in 5 years?

Maurizia: Working mainly remotely, in a place where I can have a bigger home studio and two dogs. I would love to have a shared office as well at the same time, not to be tucked home every day. Being around other creative people (whatever their field) is a great source of solace and inspiration. I think it would be ideal for starting collaborations, sparking creativity and opening up to unforeseen paths.

MW: What would be your ultimate dream job as a motion design artist?

Maurizia: Working on some big festival intro titles like OFFF, or on the splash screen for After Effects or on an animated Google Doodle. It would be amazing.

MW: What are the major changes that you see in the industry in light of how much the working landscape has changed in 2020?

Maurizia: Being able to work from everywhere has some obvious pros, but I think it will pose more than ever the challenge of competing with different salary and daily rate ranges.

On a more personal level, I think being stuck home every day, with no human interaction, or too many people around, or not enough room, or a poor internet connection, etc, depending on each situation it can be hard to sustain in the long term. It has been particularly challenging because it landed on everybody’s life unexpectedly, but situations can be improved, and hopefully things will get better and the past few months will lead to a more serious approach on flexible and remote working, with a focus on a healthy work/personal life balance.

MW: Where do you see the industry going in the future?

Maurizia: More involved with AR, VR and probably AI.

Simultaneously I see the growth of niche small studios and a constant trend in international collaborations between artists.

MW: We all know that motion graphics take a lot of time to complete. What’s your favorite food to eat when staying up late to work on all these awesome graphics?

Maurizia: I try not to do nights anymore because overall I find it unproductive, but when it happens I crave whatever is filled with carbs and cheese, and then some (or a lot of) chocolate!

MW: Thank you very much Maurizia for taking the time to answer some questions and share your thoughts and experience with everyone!

Showreel Details and Description:

Motion Graphics, 3D and Compositing projects

– 00:04 Lego Movie 2: versioning for feature movie main title, camera tracking, 3D modelling (base model provided), texturing, lighting and animation in C4D, compositing in AE
/ original version: bottom right
(Client: Warner Bros. – Dept.: DFX Deluxe – HOD: Dan Peck)

– 00:08 Game Night: versioning for feature movie main title, camera tracking, 3D modelling, texturing and animation in C4D, compositing and light animation in AE
/ original version: central
(Client: Warner Bros. – Dept.: DFX Deluxe – HOD: Dan Peck)

– 00:09 Detective Pickachu: versioning for feature movie screen replacement, tracking in MochaPro, animation and compositing in AE
/ original version: 1st
01:27 feature movie main title, 3D modelling, texturing and animation in C4D, compositing in AE
/ original version: left
(Client: Warner Bros. – Dept.: DFX Deluxe – HOD: Dan Peck)

– 00:12 Geostorm: breakdown of versioning for feature movie screen replacement, tracking in MochaPro, cleanup, animation and compositing in AE
/ original version: 1st
(Client: Warner Bros. – Dept.: DFX Deluxe – HOD: Dan Peck)

– 00:15 Happy Death Day: versioning of feature movie screen replacement, tracking in MochaPro, cleanup, animation and compositing in AE
/ original version: 1st
(Client: Universal – Dept.: DFX Deluxe – HOD: Dan Peck)

– 00:18 Fast & Furios 8: breakdown of versioning for feature movie main title, 3D modelling, texturing and lighting in C4D, animation and compositing in AE
/ original version: 1st
01:18 feature movie insert, tracking in MochaPro, compositing in AE
/ original version: 1st
(Client: Universal – Dept.: DFX Deluxe – HOD: Dan Peck)

– 00:22 Tomb Raider: versioning for feature movie main title, 3D modelling, texturing and lighting in Video Copilot Element 3D, camera tracking, animation and compositing in AE
/ original version: top
(Client: Warner Bros. – Dept.: DFX Deluxe – HOD: Dan Peck)

– 00:25 Murder on the Orient Express: versioning for feature movie main title, camera tracking, animation and compositing in AE
/ original version: 1st
(Client: 20th Century Fox – Dept.: DFX Deluxe – HOD: Dan Peck)

– 00:28 Smallfoot: breakdown of versioning for feature movie main title, camera tracking, 3D modelling, texturing, lighting and animation in C4D, compositing in AE
/ original version: 1st
(Client: Warner Bros. – Dept.: DFX Deluxe – HOD: Dan Peck)

– 00:38 Teen Titans: versioning for feature movie main title, camera tracking, 3D modelling, texturing, lighting and animation in C4D, compositing in AE
(Client: Warner Bros. – Dept.: DFX Deluxe – HOD: Dan Peck)

– 00:42 Scoob: versioning for movie trailer main title, camera tracking, 3D modelling, texturing, lighting and animation in C4D, compositing in AE / original version: 1st
(Client: Warner Bros. – Dept.: DFX Deluxe – HOD: Dan Peck)

– 00:45 Glass Bottles: 3D model provided, 3D texturing, lighting and animation in C4D, compositing and motion graphics in AE
(Creative agency: Quattrolinee – Client: Bormioli Pharma)

– 00:46 Sziget Island Of Freedom: personal project inspired on Sziget Festival, concept and look development, 3D modelling, texturing, lighting and animation in C4D, compositing in AE

– 00:48 A-sharing app: promotional video for fictional app, concept and look development, motion graphics and animation in AE

– 00:50 Nespresso: fictional adv – concept and layout, 3D modelling, texturing, lighting and animation in Maya, compositing in AE

– 00:54 Digital Excellence: motion graphics animation in AE for pharmaceutical company video
(Creative Agency: Ogilvy Healthworld – Producer: Simon Stacey)

– 00:58 Nike Air Max Day 2016: AV for Nike installation Oxford Circus Store, London UK, motion graphics and animation in AE
(Creative agency: OMM – Creative Project Lead: Roderick Goedhart)

– 00:59 Bar·Out: stop motion explainer video, motion graphics and cleanup in AE, editing in Premiere Pro
(Client: Bar·Out – Art Direction: Marco Caffaro – Photography: Marco and Remo Caffaro)

– 01:03 Camera mapping project: camera projection, 3D modelling of the environment, CG modelling, shading, animation and lighting in Maya, compositing in Nuke based on camera projection, breakdown in AE

– 01:03 Camera tracking project: tracking in Nuke, 3D modelling, texturing, lighting of hydrant and billboard in Maya, cleanup, CG integration and compositing in Nuke, breakdown in AE

– 01:16 Razer Blade Pro commercial: color grading in Nuke
(Creative agency: HMX Media, Producer: Tom Bogda)

– 01:24 Crazy Rich Asian: versioning for feature movie text bubbles replacement, tracking, animation and motion graphics in AE
/ original version: 1st
(Client: Warner Bros. – Dept.: DFX Deluxe – HOD: Dan Peck)

– 01:28 Squash & Stretch: concept and layout, 3D modelling, shading, lighting and animation in C4D, compositing in AE

Software: After Effects, Nuke, C4D, Maya, Mocha Pro, Illustrator, Premiere Pro
Music: Cream On Chrome by Ratatat

MW

MW

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.