65 The Wall Street Journal recently ran a half-page under the headline stash “Fewer Actors, Other Trends You’ll See in 2010”. The article, by Suzanne DVD MAGAZINE 65 Vranica, probes high-level agency types for thoughts on where the ad

Stash Media Inc. world is steering. Editor: Stephen Price Managing editor: HEATHER GRIEVE Ad-skipping strategies still feature prominently, as do predictions about Associate editor: ABBEY KERR the rise of mobile advertising and social-network personalities and the Account manager: APRIL HARVEY fall of budgets and sports personalities as pitchmen (thanks Tiger). Administration: STEFANIE POLSINELLI Hidden in the last quarter of the article is an encouraging, if brief, blurb Preview/montage editor: HEATHER GRIEVE under the subhead “Avatar Envy”. It quotes Richard Gagnon, chief media Art prep: officer at DraftFCB: “We are going to see more and virtual ALAN SWINTON talent in ads. It’s cheaper than hiring actors and it avoids the risk of Proofing: having your brand associated with a celebrity.” MARILEE BOITSON Preview opening animation: TANTRUM Technical guidance: IAN HASKIN A comforting thought indeed for talent, especially those of you with Cover image: proven or nascent character skills from modeling and rigging through Joris Bergmans to animation, rendering and compositing. And from the studio side, now Michélé De Feudis seems the time to cut that character reel and then freshen it up with a

WWW.STASHMEDIA.TV few spec clips. ISSN 1712-5928 For my part – while not usually prone to thoughts of schadenfreude – I have bookmarked TMZ and People.com hoping for more imploding Stash DVD Magazine is published 12 times celebrity pitch people. per year by Stash Media Inc. All rights reserved and contents copyright Stash Media Inc. No part of this booklet nor the Stash DVD may be copied without express written permission from the publisher. Stephen Price Subscriptions: www.stashmedia.tv Editor Submissions: www.stashmedia.tv/submit New York, February, 2010 Contact: Stash Media Inc. 35 McCaul Street, 305A [email protected] Toronto, ON M5T 1V7 Canada Curated in New York. Printed in Canada. stash 65.01 stash 65.02

Adidas Basketball 2010 Honda “Everything” “Lesson In Style” TVC :60 TVC :60 Agency: For 180LA Agency: 180LA ECD: William Gelner Wieden + Kennedy London Director: CDs: Gavin Milner, Grant Holland Director: Andy Hall AD: Erwin Federizo Scott Lyon Copy: Tom Hamling Production: EP/managing partner: Peter Cline VFX: Elastic Sr producer: David Emery The Mill Animation/VFX: www.the-mill.com For Elastic a52 A witty mini-masterpiece from Work Director: Andy Hall www.a52.com editor Rich Orrick with Flame and NBA veteran Kevin Garnett For a52 2D enhancements by the London schools newbie Derek Rose in CG supers: Kirk Shintani crew of The Mill. The spot includes the ways of style with the help of 2D VFX: John Roden 1,000 shots and 972 edits over Andy Hall, director at Elastic in 2D: Henry De Leon, 17 video layers. Neil Davies, lead Santa Monica. “We started with a Jahmad Rollins 2D at The Mill: “The key thing was 3D scan of the Equation shoe and 3D: Adam Newman, Than Lane, to have an awareness of how the created a variety of textures for Tom Connors, Kevin Culhane, images interacted to build up the leather, cloth, suede, ash, candy, Asst producer: Heather Johann effects on screen in order to tell the story. By putting the multiple cardboard, and butter. For some Producer: Sarah Haynes For The Mill layers together and refining the of the scenes the model had to EP: Jennifer Sofio Hall Producer: Liz Browne way the wipes created a sense of be modified using blend shapes For Rock Paper Scissors Colorist: Seamus O’Kane movement, we were able to reflect in order to allow the shoe to swell, “Once all of the shoes and “The opening and the laces Sound editor: Terence “Biff” Butler 2D: Neil Davies first the acceleration and then the explode or melt. surrounding elements were section were 2D cel Producer: Mike Goble Flame: Neil Davies modeled, textured, and rigged, we created in Flash. These were later deceleration of the ad.” “Different rigs were built based on Flame assist: Gary Driver, built shaders to light and render also put through the same Flame For Squeak E Clean Productions the shoe’s movement in the scene; For Wieden + Kennedy London Rich Roberts, Paul Downes each scene. The renders were process as the final CG renders.” Composer: Brent B. Nichols, a good example is the tongue Creatives: Chris Groom, then composited in After Effects Kelley “Rusty” Logsdon For Work stretching out on the ‘frog shoe’. For Adidas Sam Heath and run through a pre-designed EP: Zach Sinick Editor: Rich Orrick We also took live action footage we Global communications director: Producer: Anna Smith Flame setup to add film grain, Producer: Chris Smith Music: “Atlas”, by The Battles, shot of Derrick Rose and projected Ryan Morlan For Outsider rearranged by Dan Pepe film flicker, distortion, and a slight Toolkit him onto a piece of cardboard to Global communications managers: Director: Scott Lyon chroma shift. Adobe Creative Suite, Flash, Maya, Toolkit show him tagging his shoe. Lorrin Pascoe, Mitty Arnold Producer: Zeno Salmon , After Effects, Flame Yo Yo, Flame stash 65.03 stash 65.04

SEAT “Ibiza Cherub” Jack Daniel’s “Label Story” TVC :60 TVCs x 3 :30

Agency: For SEAT Agency: Atletico International Marketing/communication Arnold manager: Reinhard Patzschke Director: Director: Joakim Reveman Intl. marketing team: Silvia Balart, Ana Sanchez Jonathan Notaro Production: Production: Radical Media Berlin For Atletico International Brand New School Made In Africa ECD: Arndt Dallmann Animation: VFX: CDs: Jonny Biggins, Jason Bramley Brand New School Red Rum Stockholm www.brandnewschool.com www.redrumpost.se AD: Alexander Scharlach Copy: David Mueller Director/CD Jonathan Notaro Christian Stark at Atletico Producers: Christian Métrailler, and the BNS crew mine the International in Barcelona: “Since Roger Lairisa “calligraphic, high contrast, we had talent hanging all over the Account executive: Christian Stark etching-inspired imagery” of the frame and a moving camera, we Jack Daniel’s label to illustrate the needed clean passes in order to For Radical Media Berlin Director: Joakim Reveman people and process behind the remove the wires, so we shot with legendary Tennessee whiskey. control. Producer: Ben Schneider DOP: Fredik Bäckar Notaro: “The agency had a really “In one of the main shots we had a strong sense of where they wanted big scaffold in front of a house. We For Red Rum Post: Anneli Ewert to be with these stories, where the took stills of another house nearby brand’s unique artwork and filigree and projected this house onto the Lead/Sr Flame/on set super: come to life stylistically.” The Dave LoGiudice, John Kalagian basic geometry of the first house. Joel Bringmark For Brand New School For The Lodge spots were versioned for cinema, 2D: Stieg Retlin Then the shot was 3D-tracked and Flame: Stefan Ekman, Director: Jonathan Notaro CDs: Eric Hillebrecht, broadcast and sport arena Storyboard: Will Rosado the new house was placed in over Quentin Olszewski ADs: Mario Stipinovich, Colin Thibadeau presentation. Compositor: Eric Concepcion, the scaffold.” Compositor: Håkan Jonsson Eric Conception Composers: Ronan Coleman, 3D: Samuel Schulthess, For Arnold Designers: Ricardo Villavicencio, Dave LoGiudice, Michal Finegold Alex Weinstein, Demian Sims Schedule: two months prep, three Stephen Kelleher, Emmett Dzieza EP: Danny Rosenbloom Oskar Wahlberg, Peter Olsson CCO: Pete Favat Toolkit night shoot in Johannesburg, one CG lead: Vadim Turchin HOP: Devin Brook 3D/compositor: David Strindberg CDs: Wade Devers, Wade Paschall Adobe Creative Suite, Maya, Flame week offline edit, five weeks of CG. Asst CD: Lee Walters, Chad Leitz 3D: Eric Concepcion, Han Ho, Producers: Toby Sowers, Toolkit Mike Sullo Watch Behind the Scenes on EP: Billy Near Mike Garcia, Walter Lubinski, 3ds Max, Maya, SynthEyes, Nuke, Prod coordinator: Ilona Klaver the DVD. Asst Producer: Reaghan Puleo Kim Kehoe, Andre Salyer, Carmine Flame Laietta, Adam Rosenzweig, stash 65.05 stash 65.06

Venomocity.com “Feeding “Google Chrome” Time”, “Getting Owned” Viral 4:30 TVCs/virals x 2 :30 Client: it look stylized but to also keep it Agency: Arizona Department of as real as possible.” BBH New York Health Service’s Bureau The campaign is anchored by Director: of Tobacco Education and an interactive component based Aaron Duffy Prevention at venomocity.com, which will Animation/VFX: Agency: also integrate the CG creature. 1st Ave Machine Riester Schedule: two months. www.1stavemachine.com Director: For Electric Company Director Aaron Duffy and the 1st Luis Torres Producer: Kim Jackson Ave Machine crew not only explain Production: For La Flama eight features of Google’s Chrome Electric Company Director: Luis Torres in this viral but also give the EP: Jorge Bobadilla browser a friendly, even charming Animation/VFX: Jr EP: Marcela Vera facade through the use of low tech La Flama 3D: Beto Moheno production techniques combined Exodo Digital Workshop After Effects: Luis Torres with visually clever blocking. www.laflama.com www.exododw.com For Exodo Digital Workshop For BBH New York Modeling: Francisco Zamudio ECDs: Calle Sjoenell, Pelle Sjonell Electric Company director Luis Texturing: Guillermo Soria AD: Steve Peck Torres teams with Mexican Simulation/VFX: Daniel Schmid Copy: Jared Elms Storyboards/design: animation studio Exodo to fight the Carlos Ancalmo Rigging/animation: Pablo Mercado For 1st Ave Machine good fight with these youth anti- Asst director: Mario Romeo Modeling: Omar Sealthiel Director: Aaron Duffy smoking spots. Torres says the Compositors: Vi Nguyen, Daniel CGI Producer: Paco Navarro EP: Sam Penfield goal was “to elicit a sense of fear Roman, George Vincent, Jason Live action director: Ro Rao Producer: Jennifer Brogle Jones from the target audience; the spot Tsang, John Laughlin, Kathleen Producers: Joanna Shaw, Head of creative development: is meant to give you the creeps Tobin, Ryan Hooks, Sohee Sohn Pamela Mahan Claire Mitchell after you watch it. 3D tracking: Ralph Prod coordinator: Jennifer Stratton For Machine Head Costume: Val Gnaedig “The technical challenge was AD/fabrication: Bob Partington Sound Design: Stephen Dewey Documentation: Patrick Scola to make the CG creature look Fabrication: Nathan Asquith, and feel as if it was made in stop Toolkit Peter Erickson Toolkit motion – with the look of the , After Effects, Smoke, After Effects interior of the body it was to make 3ds Max stash 65.07 stash 65.08

La Republica Newspaper Momentum Health 2010 Campaign “The Biology of Change” TVCs/virals :15 x 4 Cinema :43 Agency: Agency: JWT / Costa Rica Draft FCB Cape Town Director: Director: Daniel Perdomo Craig Wessels Animation: Production: Caramba Wicked Pixels www.caramba.tv Animation: Daniel Perdomo, director at Wicked Pixels Caramba in Montevideo, Uruguay: www.wickedpixels.com “The brief was to highlight the Capetown’s Wicked Pixels show to create some of the strange quality of information the La off their talent for abstract story- environmental objects.” Republica Newspaper gives to telling in this cinema-only spot its readers, being more analytic For DraftFCB Cape Town for a South African healthcare and developed compared to other ECD: Francois de Villiers company. “The agency’s concept dailies. Producer: Vanessa Parkin was ‘The Biology of Change’. The Copy: Avish Gordhan, “At the beginning, the campaign challenge was to come up with a Neil Gardiner was only meant to be made up look and feel for human emotion. AD: Mandie van der Merwe, of print ads, but then the client “We wanted a form that was both Francois de Villiers decided to take these ads and unusual and interesting, as well as make them into TV commercials, For Wicked Pixels having the function of being able we decided we would create small Director: Craig Wessels to effortlessly alter its position, CG cardboard worlds where each CD: Andrew Shaw shape and color. We were ad was recreated on it, giving it the Producer: Magda Roets looking for something ethereal look of the original campaign and Animators: Gavin Coetzee, Pierre and beautiful, wanting to avoid also adding something special to Bezuidenhout For JWT / Costa Rica For Caramba Toolkit anything biological or scientific in give more visual impact to it.” Compositor: Grant Legassick CD: Christian Caldwell ED: Carolina Desalvo 3ds Max, After Effects, ZBrush feel. After much experimentation Schedule: one week. AD: Alfredo Enciso Director: Daniel Perdomo and testing, we achieved this Audio/SFX: Resonate Copy: Christian Caldwell, Watch Behind the Scenes on For Absolut with a combination of 3D particle Pablo Castillo Toolkit: the DVD. Music: Hugo Jasa, Rodrigo Jasa systems, live action background plates and even a little chemistry Maya, Shake, After Effects, Fume FX, Krakatoa stash 65.09 stash 65.10

“Thirteen” “Big Magic” Show titles 1:08 Broadcast design (montage) :40

Director: Client: For Stardust Studios, NY Robb Rugan Reliance Big Broadcasting Director/CD: Alan Bibby Animation: Director: EP: Mike Eastwood Superfad Alan Bibby HOP: Beth Vogt Sr producer: Eve Ehrich www.superfad.com Production: Producer: Lindsay Yacura Stardust Studios, NY Superfad director Robb Rugan Asst producer: Ryan McRee says the inspiration for this Animation/VFX: Sr AD: Jens Mebes opening for Paramount’s online Stardust Studios, NY Designers: Tae Kim, Aaron Maurer, series running on MySpace www.stardust.tv Julene Bello, Marcus Mullins, (since renamed “Circle of Eight”) Wrangling a production team Oliver Schroeder came from classical sculptures 3D: Cary Janks, Ryan O’Phelan, like Rodin’s Gates of Hell and of 20, Stardust director/CD Alan Bibby started production John Karian, Cavin Thuring, Giambologna’s Abduction/Rape of Mirelle Underwood, Weichieh Yu the Sabine Women. on these IDs for a new Indian broadcaster by shooting talent Compositors/animators: “We all really liked the idea of this and supplemental assets (plants, Tim Regan, Tonya Smay, writhing mass of bodies trying to falling petals, flames, etc.) on a NY Chris Lohouse, JJ Johnstone, escape, but instead of them being greenscreen stage with a Phantom Rick Malwitz, James Weber, trapped in bronze or stone or tense moments.” Schedule: three Fabian Tejada months. camera flashing through 1,000 something solid, we chose to put frames per second. The team then Editor: Andrew Borin them in the never-ending ether. For Superfad built the 3D cities in Maya, basing Toolkit There is no up or down or left or Director: Robb Rugan a lot of the buildings and texturing Maya, After Effects right. It’s nothing. Producer: Christina Roldan on travel photos shot by senior AD “All the animation was hand- CG super: Michael Wharton Jens Mebes on his recent travels animated. There was no motion Animators: Bill Burg, Angel Negron through India. The live-action and capture or anything like that. Lighting/materials: Mike Wharton, 3D were composited with matte It needed to feel tense. Every Bill Burg paintings and many layers of character had to feel on the Compositor: Daniel Pernikoff atmosphere in After Effects. edge - falling, reaching, drifting, EP: Geraint Owen fetal - so we chose to show short Toolkit Softimage, Maya, After Effects stash 65.11 stash 65.12

Cartoon Network “Udderbelly” Broadcast design x 3 Broadcast design

Director: Client: Olov Burman E4 Production: Director: Meindbender Animation Olly Reid Studio Alex Mathieson Animation: Animation/VFX: Meindbender Animation Hot Head Films Studio www.hotheadfilms.co.uk www.meindbender.com Udderbelly is a touring comedy Swedish animation studio venue housed in a 20-meter high Meindbender make their Stash tent the shape of an upside-down, debut with this frenetic series of bright purple bovine (udders and CG-posing-as-claymation clips for all). Knowing that detail, this promo Turner Entertainment’s Cartoon for E4’s broadcast of the event Network. from the Edinburgh Fringe Festival Meindbender director/designer/ suddenly makes a modicum of sense. animator Olov Burman: “We For Hot Head Films wanted a classic look in the Created by Bristol’s Hot Head Director: Olly Reid animations. Tony Österlund ended Films, with the production team Producer: Jacky Priddle up putting much work into the lead by director Olly Reid, the spot 2D: Gary Andrews rigging of the characters to be marries 2D hand-drawn animation Flash: Theresa Whatley able to get us as much freedom as colored in DigiCel with stock Post: Olly Reid possible in the animation. footage of the swinging 60s. The For Cartoon Network Animation/rigging: Calle Halldin For Analog Digital Union For E4 most challenging element of the “The crowd shot in ‘The CD: Rafal Gasak Animation/crowd and cloth Music/sound design: Director: Alex Mathieson production according to the Hot Duplicators’ was also a big PA: Lola Gamester simulations/displacement/color Robert Lundgren Producer: Jason Delahunty maps: Marcus Ottosson Head team was digitally removing challenge – we zoom out from the For Meindbender Toolkit: Rigging: Tony Österlund the figure that was the original Toolkit eyes of one Duplicator and end up Director/designer/animation/ Maya, Maxwell, After Effects, Props: Ola Larsson focus of the stock footage. DigiCel, After Effects, Modo seeing about 250,000 forming the preproduction: Olov Burman Photoshop Intern, generalist: CN logo.” Schedule: six months. Lighting/rendering/post: Rickard Germundsson Michael Bengtsson stash 65.13A stash 65.13B stash 65.14

FoxLife “Glam Refresh” TyC Sports – Program MTV Broadcast design Packaging 2009 Broadcast design x 6 Broadcast design x 3 Client: Director: Client: Fox International Sergio Saleh MTV World Design Studio Milan Channels Animation/VFX: Director: Sergio Saleh Directors: Sergio Saleh www.sergiosaleh.com Matt Pyke Ark Animation/VFX: Hired to rebrand the most We Love Our Work Sergio Saleh important programs on a popular The Holograms www.sergiosaleh.com Argentine sports channel (also Realise Studio Sergio Saleh operates as a seen across Latin America and TADO the US), Saleh and crew had to freelance CD and project manager Animation/VFX: in Buenos Aires carefully selecting overcome a small budget and the channel’s inferior broadcast Universal Everything teams for each project. His recent Mathematic work for local and international quality: “To make up for the image washing caused by the pre- Ark clients is both bountiful and We Love Our Work beautiful. satellite compression of the signal the designs needed to have a high UFO “The biggest challenge on FoxLife level of contrast and brightness.” Realise Studio was to respect the previous work, Schedule: two months TADO keep its essence while giving it AD: Natalia Español For TyC Sports Looking to “solidify the channel’s an intimate, alive and vivid tone. CD/project manager: Sergio Saleh CD: Pablo Encabo position at the dynamic The hands of the animator, the EP: Digital 1 CDs: Sergio Saleh, Juani Libonatti intersection of music, creativity designer and the channel had to HOPs: Hernán Minetti, Leo Alvarez disparate work is held together by For Freefarm Design/animation: Sifon DG, and youth culture,” MTV Networks be visible in each piece. So we Sr producer: Pablo Encabo key words in the brief: love, joy and Audio: Simon Pyke Diego Vigil Studio, Alan Traverso International (MTVNI) refreshed produced a lot of material with the Tabletop director: Juani Libonatti MTV across the network’s 64 non- desire – “feelings which resonate Music: Walter Cuzzolino, Sifon DG Toolkit camera – flares, threads, sequins, Designers: Letizia Lemme, US channels in 2009. across borders, cultures and Set design: Manuel Martí, Massive, Maya, After Effects, XSI, etc. were shot on the table top and Marcos Girado, Lorena Ruiz languages.” Facundo Echeguyen then composited in post. It had to Animators: Claudio Neira, The campaign was led by MTVNI’s mental ray, Flame, , Flash, For Universal Everything Quake be seen as perfectly imperfect.” Tato Araoz, Damian Stricker, Toolkit new World Design Studio based Director: Matt Pyke Schedule: five months Ariel Cabrera, Mariano Moscuzza Maya, 3ds Max, After Effects, in Milan in collaboration with Matt CD: Matt Pyke Music: Pablo Paz, Emilio Haro Photoshop, Illustrator Pyke and Universal Everything For Fox International Channels who worked with seven creative Editing/styling: Matt Pyke EVP: Rafael Sandor Toolkit teams strung around the world. Direction of photography: Branding VP: Florencia Picco Maya, 3ds Max, After Effects The sheer visual variety of the Johnny Carr Character design: TADO stash 65.15

“Homunculus” Short film 3:20

Director: Hydra Animation/VFX: Humble www.humble.tv Homunculus is the first in an annual series of experimental short films by Hydra, the in-house directing collective of New York creative/production/post house Humble. The film combines the alchemist fable of spontaneous generation from decaying matter with the Jungian concept of the unleashed id and a heavy dose of Dutch still life painting. Production started by entombing fruits, cheeses, fish, and an uncooked pheasant in a six-foot plexiglass cube while three DSLR cameras shot frames every five minutes for 11 days to capture the beautiful decay. Over the next four For Humble TV Samuel Stephens, Bo Kyeong Kim, Set lighting: John Frisbee EP: Eric Berkowitz months, co-director Chris Mauch Concept/direction: Samuel Tiffani Johnson Voices: Nick Regulbuto, Producers: Kim Koby, Kristin and a team of animation volunteers Stephens, Chris Wolfgang Mauch Texture: John Hobbs Andrew C. Ortiz Tomborello, Sue Kutch modeled, rigged and animated AD: Adam Sober Meanster “Stretchy Rig”: Sound design/mix: Joe Miuccio Toolkit the characters between paying Animation lead: Eugen Sasu Carmine Laeitta V and Penny Lane Studios Maya, After Effects, Final Cut gigs and on weekends. Originally Animation: Carmine Laeitta V, Original score: Koven J. Smith Fur/lighting/rendering/edit: planned as a 30-second clip, the Andrew C. Ortiz, Chris Wolfgang AD: Ariel Danziger Samuel Stephens Watch Behind the Scenes on film gradually grew into a mini-epic Mauch, Daryl Correa Time lapse photography: Character design/modeling/ the DVD. of three-plus minutes in full HD. Compositing: Alex Postelnicu, Samuel Stephens rigging: Chris Wolfgang Mauch stash 65.16 stash 65.17

“Lucky” One Eskimo “Givin’ Up” Short film 2:06 Music video 3:27

Client: Director: Twenty120 Lifelong Friendship Director: Society EB Hu Production: Production: Bullet, NY MIE Animation: Animation: Lifelong Friendship EB Hu Society Simon Graham www.lifelongfriendshipsociety.com http://hybworks.co.uk Travis Spangler, CD, partner and Before receiving the call from cofounder of LLFS in Brooklyn, independent short film collective NY: “We consciously chose a Twenty120 (www.twenty120.com) somewhat abstract and minimalist to create an original short, director approach to the story telling. The EB Hu was already working on the challenges were: to not fall prey rough animatic for Lucky. to bells, whistles, dimension and effects; using limitation, repetition, Hu says he was motivated to flatness and an earthy color pallet create a piece dealing with the to show a character journey without tragedy of Japanese whaling after being boring or cold; and to tell a witnessing the chilling visuals of a succinct story that dovetailed with hunted mother whale along side the melancholy lyrics was extremely her cub. “It’s a portrait of the living important to us. animals along side the dead, in the process of evolution, captive “The main character itself grew animals survive in the gap between Direction/design: EB Hu out of a few sketches. It had to For Lifelong Friendship Society nature and us, but the ones who Music: Phillp Sheppard breed a familiarity in the viewer – a CD/designer: Travis Spangler are ultimately lucky are the ones 3D modeling: Simon Graham simple grand archetype almost. Lead animator: Sid Seed who escape from us.” Schedule: Animation: EB Hu, Simon Graham Everything and nothing. Is it a EP: Dan Sormani two and a half weeks. Producer: Joe Marshall robot, lightbulb, bubble, or does it Producer: Bridgette Spalding just represent an idea?” Schedule: Toolkit “Two weeks - start to finish.” Toolkit 3ds Max, After Effects Illustrator, After Effects stash 65.18 stash 65.19 Team William Metal On Metal “Bastard” “You Look Familiar” Music video 3:34 Music video 2:44 edit this in a way that still made it Record label: Record label: gory and believable. vzw Keremos Skint “We shot on a Photon high speed Director: Director: HD camera over an eight-hour Michélé De Feudis Matt Devine shoot day. This camera can shoot Animation: Production: 1000 fps but only for a few minutes Joris Bergmans Revolver before its hard drive is full. It then takes 30 minutes to empty it so Michélé De Feudis VFX: jorisbergmans.com you can keep shooting. This was The Glue Society micheledefeudis.com frustrating as there was a lot of Fuel VFX waiting time. If we had had the The debut album from indie- www.gluesociety.com budget I would have got two popsters Team William got a www.fuelvfx.com cameras so we could still shoot major boost from this ambitious With the help of Fuel VFX, The whilst we emptied one.” Post video directed by fellow Belgian Glue Society and director Matt schedule: one month. Michélé De Feudis. “The song Devine create an exercise in has quite explicit lyrics but in For The Glue Society tension by replacing a ping pong general it has an upbeat feel. The Director: Matt Devine ball with a CG grenade. “A hand classic cartoons from the 20s and grenade is actually quite heavy, For Revolver early 30s reflect this – they are so they needed to look like they EP: Michael Ritchie whimsical yet there is a rough and where really slugging it. It also Producer: Caroline Barry edgy side to them. needed to be interesting to watch DOP: Danny Ruhlmann “As the deadline was short (one so the grenade had to bounce and Production designer: month) we worked with talented Animation/additional design: spin all over the place. Margot Wilson people from all over Belgium Lois Van Baarle, Koen De Koninck, “We kept the grenade fully intact For Fuel and the Netherlands. There was Michèle Vanparys, Maxim (rather than having the lever fly off CG super: Bryn Morrow hardly any time for meetings, so Vandeputte like in the movies), so we could Lead Flame: Chris Scott we had to organize most of the make it look out of control when VFX producer: Claudia Lecaros production online. A lot of times Toolkit it hit the table. It also looks much the main character stays on screen Photoshop, Illustrator, Flash, For Guillotine cooler graphically. We couldn’t between shots made by different After Effects Editor: Stewart Reeves afford to show a person actually people. It was quite a challenge blow up so we had to shoot and Toolkit to put them all together without Flame losing consistency.” stash 65.20 stash 65.21

Takayuki MANABE “Trichrome Blue” “The TV Show” Short film 4:24 Music video 3:28

Director: School: on visual development. That left Kousuke SUGIMOTO Utrecht School of only three months to animate so I Animation: the Arts made my storyboard very detailed Kousuke SUGIMOTO Director: so it could also function as rough http://sugimotokousuke.net Lois van Baarle layouts for the final animation. Japanese director Kousuke Animation: “In some situations (such as where Sugimoto takes us on a rhythmic Lois van Baarle a whale swims over numerous tour of urban chaos in this manic [email protected] television screens), I relied on Arjen Klaverstijn, who animated various interpretation of a track by Dutch animation student Lois van Takayuki Manabe. elements in 3D. In the case of the Baarle produced this enigmatic whale, it was later rotoscoped in Sugimoto: “The challenge was short to accompany her thesis 2D to keep the style consistent. using several different styles and entitled “Entertain Me: the added colors. I pursued an expression of value of animated shorts as Trichrome Blue was the winner of mixing them up not only ‘nicely’ advertisements.” the HKU (Utrecht School of the Arts) Award in December 2009. but also ‘strangely’. I revised the “Trichrome Blue is the first storyboard again and again to The 5000 euro prize will be used to installment of the Trichrome fund the upcoming films Trichrome connect each world in a good Project about a fictional company balance, and finally... I had a Yellow and Trichrome Red. that markets emotions and feelings Schedule: four months. headache.” Schedule: two months Directors: in their purest form. So while Toolkit Kelly Meador the film is first and foremost an Visual effects: Lois van Baarle, Photoshop, After Effects Daniel Elwing animated short, it is also in some Arjen Klaverstijn Design/animation: ways an advertisement. It draws 3D animation: Arjen Klaverstijn Impactist inspiration from virals, because Soundtrack: Marcel Janssen www.impactist.com it is meant to be intentionally Sound effects: Marcel Janssen mysterious and draw people to Toolkit Portland-based Impactist directors the Trichrome website (www. Kelly Meador and Daniel Elwing: TVPaint Animation, After Effects, trichrome.loish.net), and is also Photoshop, Maya “These animated promos were meant to be promoted online created to accompany music and through other public viewing Watch Behind the Scenes on contained in our album ‘Open channels. the DVD. Your Face and Make Words’. “I gave myself a full month to work stash 65.22 stash 65.23

“Bits and Pieces” “Open Your Face and Make Feature film segment :55 Words”, “Nerdmask” Album promos x 2 :26, 1:14

Client: Directors: Soft Celluloid Kelly Meador Daniel Elwing Director: Allen Martinez Design/animation: Chris Do Impactist www.impactist.com Production: Blind Portland-based Impactist directors Kelly Meador and Daniel Elwing: Animation: “These animated promos were Blind created to accompany music www.blind.com contained in our album ‘Open Director Allen Martinez drained Your Face and Make Words’. his production budget shooting The visuals respond to the tone the live action sequences for his For Soft Celluloid and pace of the tracks using a sci-fi feature Bits & Pieces but still Director: Allen Martinez combination of real world elements had a :60 expository montage to and digital tools. complete. Fortunately for Martinez For Blind, Inc. “The technical challenge for the he studied at Art Center with Chris Director/CD: Chris Do ‘Nerdmask’ promo was simply Do, now the principal and ECD at EP: Dave Kleinman the number of illustrations used Blind. Do got involved because Post producer: Dana Vaden consuming process that involved throughout, as most have a projects like this let the studio Designers: Chris Do, Lynn Cho, countless passes before final secondary interior that is revealed “beta-test ideas before using the Ivan Cruz, Chris Marcet selections could be made. The as the piece progresses. Editing techniques we learn on larger 2D: Ivan Cruz, Lynn Cho, production schedule was loose and simplifying the story meant scaled projects. Chris Marcet and spanned a couple months, 3D: Chris Marcet, Ivan Cruz many illustrations went unused. as these were created in between “Projects like Bits & Pieces require Modeler: Chris Marcet The challenges of ‘Open Your other commissioned projects.” a few key things to happen: first Storyboard: Chris Do Face and Make Words’ lay in and foremost is trust, a degree For Impactist Illustrator: Alex Preston the buildup of colored mattes. of flexibility, clear and decisive Directors: Kelly Meador, Daniel Editors: Ivan Cruz, Chris Do Working through the evolving color decisions and a creative team Elwing placements, and textural overlay fueled more by passion than Toolkit of materials was a very time Toolkit financial reward.” Illustrator, Photoshop, After Photoshop, Illustrator, After Effects Effects, Maya, Cinema 4D stash 65.24 stash 65.25

Suzuka Nakahara Challenge Your World “Sakura” “La Chaussettologie” Music video 1:29 Viral 2:20 Record label: Directors: Clock music Yann Benedi Director: Céline Desrumaux ekakiya Production: Animation: The Ciutat De Palma Award Katsuhiko Omori Independent Animation http://www.ekakiya.jp Animation: A dense, vibrant and surreal Yann Benedi expression of Suzuka Nakahara’s Céline Desrumaux track “Sakara” which Tokyo groovythesushi.blogspot.com director/animator Katsuhiko www.yannbenedi.blogspot.com Omori says plays on the theme of Co-director Céline Desrumaux: “encounters in spring.” To create “Challenge Your World 20/20 is a the “atmosphere of a picture book” partnership between Challenge Omori reveals he worked to “find Your World and Motionographer. the style that adapts rough 2D, Twenty video artists created 20 3D and live-action materials” and wild, whimsical, and unconventional then “make a rendering pass that machines that solve environmental simulates the process of drawing.” issues. If we’re going to transform Schedule: 14 weeks. the world we have to push ourselves to think differently. For ekakiya Director: Katsuhiko Omori “The creative challenge was to Producer: Pe-jun stay as simple as possible but in the meanwhile try not to loose the Toolkit expressivity, the attractiveness; , TVPaint, Metasequoia, that is why the design was simple, Vegas not to disturb the storytelling. In terms of production, the toughest Toolkit technical challenge was to produce Maya, Photoshop, After Effects, two minutes of animation with just Vegas the two of us in three weeks.” stash 65.26 stash 65.27 A stash 65.27 B Verhoeven, Dave Antrobus, “Man Up” Studio AKA Boris Kossmehl, Mic Graves “Stuck On A Sunday” Short film 6:50 “Lost And Found” Storyboard: Amandine Pecharman Feature film trailer 2:07 Short film trailer 1:14 Pre-vis/layout: Anna Kubik, Maarten Heinstra, Chris Rabet, School: Rob Chapman Client: Royal College of Art Director: Character model/build: Adam Avery, Royal Opera House Philip Hunt Director: Abraham Meneu-Oset Director: Ed Barrett Animation: Character development: Philip Hunt, Marc Craste Studio AKA Amandine Pecharman, Steve Small Animation: Animation/VFX: www.studioaka.co.uk Props/sets: Raymond Slattery, Ed Barrett Sander Jones, Jacob Gonzalez, Studio AKA Lost And Found is a 30-minute Sarah Wickens Rob Latimer, Boris Kossmehl, www.studioaka.co.uk adaptation of the much-loved www.edbarrett.co.uk Maarten Heinstra, Andy Staveley Studio AKA producer Sue Goffe children’s book by Oliver Jeffers. London-based director Ed Barrett TDs: Adam Avery, Fabrice Altman, explains the most challenging aspect Sue Goffe, producer at Studio AKA admits “My only memory of Chris Rabet, Lucas Vigroux of this teaser, created as a proposal in London: “Our decision to create making Man Up is that of sheer Texturing: Daniel Garnerone, Sander for an opera-infused feature film: the film in CG rather than 2D (like panic. I had the entire college year Jones, Jacob Gonzalez, James “The beast needed elaborate rigging the book) was one based on the to create the film but I used the Gaillard, Andy Staveley, in order to move and dance in the simple idea the film should act as a time up until December to create Rob Latimer, Boris Kossmehl, way required. It was a matter of going counterpoint to, and interpretation another film. Gemma Mortlock, Kaye Lavender back and forth between the rigging of the book – not simply a ‘moving and it felt overcomplicated and Lighting/rendering/compositing: department and animation, fixing “Throughout December I drafted version’.” Schedule: 11 months. was definitely too long. Following James Gaillard, Daniel Garnerone, and tweaking until it the model was storyboards and began designing. the removal of a heartbreaking For Studio AKA Sander Jones, Will Eagar, Cristobal workable. This is a time consuming I continued to refine the story up amount of animation and a slight Director: Philip Hunt Infante, Rob Chapman, Chris Rabet, process, but one that needed to be until late January when production plot refinement, I found it heading Producer: Sue Goffe Anna Kubik, Andy Staveley explored thoroughly.” started. All the way through I in the right direction. The whole Narrator: Jim Broadbent Water wrangler/Sfx tech Director: reminded myself this would be my In the end the teaser did its job: fiasco put me a long way behind Music composer: Max Richter Rob Chapman last film as a student so it had to Stuck On A Sunday now has on the schedule and I had many Sound: Adrian Rhodes Ocean plug-in: Kai Walter be something I was happy with. development funding from the UK a sleepless night meeting the EPs: Pam Dennis, Joan Lofts Effects/simulation: Rob Chapman, Film Council. Schedule: 20 weeks. “Two months in it just wasn’t deadline.” Prod design: Amandine Pecharman Fabrice Altman, Chris Rabet, working. Nothing tied together CGI super: James Gaillard Adam Avery For Studio AKA Toolkit Prod co-ordinator: Anna Kubik Additional artwork: Oliver Jeffers, Director: Marc Craste Photoshop, After Effects Tech support dir: Fabrice Altman Amandine Pecharman Script: Timothy Walker, Jason Animation: Lucas Vigroux, Johannes Editor: Nic Gill Morell Weiland, Perrine Marais, Fabienne PA: Ren Pesci Toolkit Rivory, Klaus Morschheuser Toolkit XSI, After Effects Additional animation: Marie XSI, After Effects stash 65.28

“Pivot” Short film 5:00

Director: André Bergs Production: il Luster Films Animation: Soulbase Artibite Plastiek www.soulbase.nl www.artibite.com www.plastiek.com Floris Vos, art director/designer at Soulbase in Utrecht, The Netherlands: “Pivot is part of a program run by NPS, the Dutch public broadcaster, in which 10 short film concepts get selected from submitted ideas. 2009 was the first year animation concepts were allowed – we pitched our film and it got funded. “The goal was to create an energetic short with an original style and look – forgetting about the newest technologies and packages. Sharing a work space, Schedule: “Three months for For il Luster Films For Plastiek/Soulbase/Artibite Technical asst: Bram Vleugel Miryam van Lier, Rachel van Toolkit life-like imagery but creating a we have worked quite a lot creating concept art, character Arnoud Rijken, Michiel J. Snijders, Director: André Bergs Scenario: Jan Eduards Bommel, Michiel van Jaarsveld, 3ds Max, Maya, Cinema 4D, After graphical, hard edged look with a together but never so intensely on designs, storyboards, and a Chris Mouw TD: Arno de Grijs Special thanks: Otto Heinen, Jan Pieter Ekker, vrienden en Effects, Illustrator rhythmic, fast paced edit. such a big project. We used 3ds rough blocking in 3D. The last two Production: Karlijn Landman ADs: Floris Vos, Kevin Megens Rolf Thijssen, Wesly Grefrath, familie Watch Behind the Scenes on “The technical challenge was Max, Maya, Cinema 4D and found months we animated and rendered Commissioning editor: Marina Blok Sound director: Alex Debicki Rob Charles, Lucas van Tol, Film lab: Cineco the DVD. to work together as three small a workflow in which we can work all the shots (with a little help from Character animators: Patrick Chin, Ger Bouma, Jeanine Hage, Dorien Dolby mix: Bob Kommer Studios studios using different software together almost seamlessly.” our friends).” André Bergs, Arno de Grijs van de Pas, stash 65 BONUS FILM

“LIES” Short film 13:30 material treated in various ways etc.), but they are adapted to the Director: tone of each story. Jonas Odell “The production can be divided Production: into three phases. First the FilmTecknarna research and interview phase Animation: where we gather a number of FilmTecknarna stories, go through them to find a www.filmtecknarna.se narrative structure, go back to the Swedish animation force and interviewees to get more material FilmTecknarna co-founder etc. Then selection, script, design Jonas Odell is hard to categorize and storyboard. It is important or summarize. His fearless to give the whole film an overall exploration of technique and narrative structure and to find a combinations of media across balance between different angles more than 20 years includes on the theme and different moods landmark music videos, in the stories. It is also important commercials, and short films. to give each story its unique style both graphically and cinematically Odell’s Never Like the First Time! – to do the stories justice, with a won the Golden Bear for best light touch without taking them short film at the 2006 Berlin lightly. And to find both interaction International Film Festival and this and contrast between voiceover film, Lies, was honored with the and image.” Jury Prize for International Short Filmmaking at the 2009 Sundance Watch Lies and the interview Film Festival. with Jonas in the BONUS FILM section accessible from the Jonas Odell on Lies: “Each main menu of the DVD. episode of the film has its own style of graphics and cinematic For FilmTecknarna storytelling. All styles and Director: Jonas Odell techniques might be used Producer: Linda Hambäck (traditional cel animation, 2D and Toolkit 3D CGI, graphic icons, live action After Effects, Photoshop, Premiere Stay Inspired. Preview the Best of 2009 at www.stashmedia.tv