Elastic ✹ Keynote Video
Elastic ✹ Keynote Video
Elastic ✹ Keynote Video
Overview — This is the largest data visualization Algo has ever created. Elastic invited us to craft motion & data-viz content for their hero keynote video, shot in a huge theater in San Francisco, featuring a giant backdrop of LED Volume screens. CEO speaking, everything shot in–camera.
Overview — This is the largest data visualization Algo has ever created. Elastic invited us to craft motion & data-viz content for their hero keynote video, shot in a huge theater in San Francisco, featuring a giant backdrop of LED Volume screens. CEO speaking, everything shot in–camera.
Overview — This is the largest data visualization Algo has ever created. Elastic invited us to craft motion & data-viz content for their hero keynote video, shot in a huge theater in San Francisco, featuring a giant backdrop of LED Volume screens. CEO speaking, everything shot in–camera.
Elastic powers AI-driven search for many of the apps you probably use everyday. They chose Algo to craft the motion design content for their new hero campaign — featuring a giant wraparound display of 30+ meters made of LED Volume screens, the same tech behind today’s big-budget films & tv series. It’s mind-blowing to see a single human standing in front of that giant screen.
Elastic powers AI-driven search for many of the apps you probably use everyday. They chose Algo to craft the motion design content for their new hero campaign — featuring a giant wraparound display of 30+ meters made of LED Volume screens, the same tech behind today’s big-budget films & tv series. It’s mind-blowing to see a single human standing in front of that giant screen.
Elastic powers AI-driven search for many of the apps you probably use everyday. They chose Algo to craft the motion design content for their new hero campaign — featuring a giant wraparound display of 30+ meters made of LED Volume screens, the same tech behind today’s big-budget films & tv series. It’s mind-blowing to see a single human standing in front of that giant screen.
Our work corresponds to the first half of the video, until 1:26
Our work corresponds to the first half of the video, until 1:26
Our work corresponds to the first half of the video, until 1:26
In the first half of the video CEO Ashutosh Kulkarni speaks in front of an abstract geometrical virtual environment with constant interactions between his words & our visuals. In the second half, instead, the screen disappears by being used to virtually extend the shooting environments.
In the first half of the video CEO Ashutosh Kulkarni speaks in front of an abstract geometrical virtual environment with constant interactions between his words & our visuals. In the second half, instead, the screen disappears by being used to virtually extend the shooting environments.
In the first half of the video CEO Ashutosh Kulkarni speaks in front of an abstract geometrical virtual environment with constant interactions between his words & our visuals. In the second half, instead, the screen disappears by being used to virtually extend the shooting environments.
This makes our initial section even more important. We guided the client in evolving their visual identity consistently with their brand guidelines while at the same time pushing it to the next level.
This makes our initial section even more important. We guided the client in evolving their visual identity consistently with their brand guidelines while at the same time pushing it to the next level.
This makes our initial section even more important. We guided the client in evolving their visual identity consistently with their brand guidelines while at the same time pushing it to the next level.
Click on the bar to explore styleframes by color
Click on the bar to explore styleframes by color
Click on the bar to explore styleframes by color
We maintained the space themed setting & the brand color palette, but steered away from a more figurative illustration style (with textures) and driving instead towards gradients, modern abstract graphic design & optical art. Many of the shots have a procedural nature that was achieved by using Cavalry both in the design & animation process.
We maintained the space themed setting & the brand color palette, but steered away from a more figurative illustration style (with textures) and driving instead towards gradients, modern abstract graphic design & optical art. Many of the shots have a procedural nature that was achieved by using Cavalry both in the design & animation process.
We maintained the space themed setting & the brand color palette, but steered away from a more figurative illustration style (with textures) and driving instead towards gradients, modern abstract graphic design & optical art. Many of the shots have a procedural nature that was achieved by using Cavalry both in the design & animation process.
Designing shots for a 180° backdrop in an ultra wide aspect ratio isn’t easy.
Designing shots for a 180° backdrop in an ultra wide aspect ratio isn’t easy.
Designing shots for a 180° backdrop in an ultra wide aspect ratio isn’t easy.
Our R&D director came to help by building a visualizer / stage mockup that allowed our designers (first) & animators (later) to easily picture what the effect of their shots would be on screen.
Our R&D director came to help by building a visualizer / stage mockup that allowed our designers (first) & animators (later) to easily picture what the effect of their shots would be on screen.
Our R&D director came to help by building a visualizer / stage mockup that allowed our designers (first) & animators (later) to easily picture what the effect of their shots would be on screen.
After 1.5 months of preparation, our team flew to San Francisco for the shooting. We worked closely with the Disguise team to set up the virtual set environment for our shots & then had 1 pre-light day on location before the shoot day, to make sure everything would run smoothly.
After 1.5 months of preparation, our team flew to San Francisco for the shooting. We worked closely with the Disguise team to set up the virtual set environment for our shots & then had 1 pre-light day on location before the shoot day, to make sure everything would run smoothly.
After 1.5 months of preparation, our team flew to San Francisco for the shooting. We worked closely with the Disguise team to set up the virtual set environment for our shots & then had 1 pre-light day on location before the shoot day, to make sure everything would run smoothly.
On shoot day, the backdrop graphics weren’t composited, instead everything was shot in–camera, so the sync with the CEO posed some challenges. We exported our 12K video assets at a higher frame rate (72fps) to make sure the playback could be speed up to 1.25x or slowed down to 0.75x, directly on set. This gave enough flexibility for the control room to guarantee perfect sync with the CEO delivery on every shot.
On shoot day, the backdrop graphics weren’t composited, instead everything was shot in–camera, so the sync with the CEO posed some challenges. We exported our 12K video assets at a higher frame rate (72fps) to make sure the playback could be speed up to 1.25x or slowed down to 0.75x, directly on set. This gave enough flexibility for the control room to guarantee perfect sync with the CEO delivery on every shot.
On shoot day, the backdrop graphics weren’t composited, instead everything was shot in–camera, so the sync with the CEO posed some challenges. We exported our 12K video assets at a higher frame rate (72fps) to make sure the playback could be speed up to 1.25x or slowed down to 0.75x, directly on set. This gave enough flexibility for the control room to guarantee perfect sync with the CEO delivery on every shot.
The opening section starts with a dawn that reveals the huge display and tells viewers what Elastic is all about and how search has evolved in the last 10 years.
The opening section starts with a dawn that reveals the huge display and tells viewers what Elastic is all about and how search has evolved in the last 10 years.
The opening section starts with a dawn that reveals the huge display and tells viewers what Elastic is all about and how search has evolved in the last 10 years.
① Opening sunrise
② Search points
③ Space evolution
④ Timeline
The following section introduces a fight, or better a choreographed dance, between the two forces that are changing how we search: Data & AI. Our work ends by revealing the new company tagline... Search AI.
The following section introduces a fight, or better a choreographed dance, between the two forces that are changing how we search: Data & AI. Our work ends by revealing the new company tagline... Search AI.
The following section introduces a fight, or better a choreographed dance, between the two forces that are changing how we search: Data & AI. Our work ends by revealing the new company tagline... Search AI.
⑤ Data
⑥ Connections
⑦ Two Forces
⑧ Supernova
We closely collaborated with some of our illo colleagues to make this project come to life (check the credits below).
We closely collaborated with some of our illo colleagues to make this project come to life (check the credits below).
We closely collaborated with some of our illo colleagues to make this project come to life (check the credits below).
With over 50 people involved in the production, this was certainly one of our biggest & most articulated projects to date.
With over 50 people involved in the production, this was certainly one of our biggest & most articulated projects to date.
With over 50 people involved in the production, this was certainly one of our biggest & most articulated projects to date.
We learned a lot & we can’t wait to put our experience working with huge displays back into practice soon.
We learned a lot & we can’t wait to put our experience working with huge displays back into practice soon.
We learned a lot & we can’t wait to put our experience working with huge displays back into practice soon.
Credits for Elastic — Director & Producer Daniel Cowen, Creative Director Yichun Hsieh, Producer Tasha Hardy
Credits for Algo — Creative Director Luca Gonnelli, Designer Camille Pagotto, Motion Designer Marco Oggero, Project Management Marina Echer Barbieri, R&D Director Matteo Ruffinengo, Portfolio Mara Salazzari
Credits for illo — Designer Arianna Cristiano, Motion Designer Valerio Di Mario
Credits for Disguise / Meptik — Creative Producers Andrew D’Amato, Gemma Campbell, Virtual Production Specialist Carlos Perez
Credits for The Audio\Visual Crew — Executive Creative Director Andrew Vallentine, VP Film & TV Development Andrew Richards, Line Producer Connor Panse
Credits for Playard Studios — Director & Principal Realtime Creative Carlos Fueyo
Credits for Elastic — Director & Producer Daniel Cowen, Creative Director Yichun Hsieh, Producer Tasha Hardy
Credits for Algo — Creative Director Luca Gonnelli, Designer Camille Pagotto, Motion Designer Marco Oggero, Project Management Marina Echer Barbieri, R&D Director Matteo Ruffinengo, Portfolio Mara Salazzari
Credits for illo — Designer Arianna Cristiano, Motion Designer Valerio Di Mario
Credits for Disguise / Meptik — Creative Producers Andrew D’Amato, Gemma Campbell, Virtual Production Specialist Carlos Perez
Credits for The Audio\Visual Crew — Executive Creative Director Andrew Vallentine, VP Film & TV Development Andrew Richards, Line Producer Connor Panse
Credits for Playard Studios — Director & Principal Realtime Creative Carlos Fueyo
Credits for Elastic — Director & Producer Daniel Cowen, Creative Director Yichun Hsieh, Producer Tasha Hardy
Credits for Algo — Creative Director Luca Gonnelli, Designer Camille Pagotto, Motion Designer Marco Oggero, Project Management Marina Echer Barbieri, R&D Director Matteo Ruffinengo, Portfolio Mara Salazzari
Credits for illo — Designer Arianna Cristiano, Motion Designer Valerio Di Mario
Credits for Disguise / Meptik — Creative Producers Andrew D’Amato, Gemma Campbell, Virtual Production Specialist Carlos Perez
Credits for The Audio\Visual Crew — Executive Creative Director Andrew Vallentine, VP Film & TV Development Andrew Richards, Line Producer Connor Panse
Credits for Playard Studios — Director & Principal Realtime Creative Carlos Fueyo
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