MUSIC VIDEOS It was too tough for me to choose only 36 music videos from the Stash archive and compile them Stash Media Inc. Editor: Stephen Price into this 2nd collection, so I did what any editor would do. I opened it up to let the best of the best Publisher: Greg robins videos fight it out for victory in a totally gnarly, steel cage grudge match. Managing editor: HEATHER GRIEVE Associate publisher: MARILEE BOITSON Of course bets were placed on popular champions such as Kanye West’s “Welcome to Account managers: APRIL HARVEY, Heartbreak”, Radiohead’s “House of Cards”, and The Chemical Brothers’ “The Salmon Dance,” CHRISTINE STEAD Associate editor: ABBEY KERR but this year saw maniacal young bloods enter the ring with Flairs “Better Than Prince”, LeLe Business development: “Breakfast” and Wild Beasts “Brave Bulging Buoyant Clairvoyants”. And don’t forget the vicious Pauline Thompson comebacks of seasoned prize-fighters like Grace Jones with “Corporate Cannibal” and Paul Music editor: STEVE MARCHESE Preview editor: McCartney with “222”, proving they still have the music video moves to make it to the top of our list. HEATHER GRIEVE Technical guidance: IAN HASKIN I know you’ll enjoy this new collection, just watch out for the blood spatter. MUSIC Heather Grieve Managing Editor Get your inspiration delivered monthly. VIDEOS Toronto, May 2009 Every issue of Stash DVD magazine [email protected] is packed with outstanding animation and VFX for design and advertising. Subscribe now: WWW.STASHMEDIA.TV

ISSN 1712-5928 Subscrptions: www.stashmedia.tv. Submissions: www.stashmedia.tv/submit. Contact: Stash Media Inc. 484-1641 Lonsdale Avenue, North Vancouver, BC V7M 2J5 Canada

Legal things: Stash Magazine and Stash DVD are published 12 times 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.

Curated in New York, printed in Canada. stash 56.15 stash 49.10

The Crystal Method feat. Wild Beasts Matisyahu “Drown in the “Brave Bulging Buoyant Now” Clairvoyants” Music video 3:35 Music Video the promo in Final Cut Pro with the R3D proxy files to create an off- Label: Record label: line; then they added a five-second Tiny E Records Domino handle to the front and back of Directors: Director: every shot, which meant they Alexandre Moors, OneInThree had over 10 minutes of footage to Jessica Brillhart grade. Production: Animation/VFX: Colonel Blimp OneInThree then used the Final UVPHACTORY VFX: Cut Pro “XML to Crimson to Red www.uvphactory.com For Tiny E Records Cine” workflow to conform the Management: OneInThree New York’s UVPH boil down live www.oneinthree.tv promo as 4K 10-bit DPXs (660 3 Artist Management gigabytes worth) before it was action, 2D, and 3D ingredients EP: Sheira Rees-Davies into a snowy, surreal, hi-con This music video, directed by UK graded in Baselight at The Mill. world for The Crystal Method’s For UVPHACTORY promo specialists OneInThree, This was then output as a 4K tif collaboration with Hasidic Jewish Directors: Alexandre Moors, pioneers a mind-bending sequence back to a hard drive so rapper Matisyahu. The majority of Jessica Brillhart technique called the Droste OneInThree could start the effects the city, the storefronts, billboards, Producer: Brian Welsh Effect based on an uncompleted process. 3D lead: Sue Jang M.C. Escher lithograph called etc. were constructed using 2D Josh Sommers translated the 1,080 computer hours, over 400 For Domino Compositing lead: John Stanch “Prentententoonstelling”. It depicts cutouts and After Effects. Live resulting formula into a program crashes and two terabytes of Commissioner: Bart Mcdonagh AD: Alexandre Moors a young man viewing a print on footage of Matisyahu was shot on called MathMap. data spread across seven hard Editing: Jessica Brillhart the wall of a gallery: a recursive For Colonel Blimp greenscreen, treated to look like drives, the final compositing DOP: Brian O’Carroll illustration of himself standing in MathMap was designed to Producer: Tamsin Glasson animation and looped to appear could be done. The resulting 3D: Scott Sindorf, Ali Asghar, the same gallery viewing himself apply the effect to single images as though he were walking the images were brought into After For OneInThree San Charoenchai, Ajit Menon viewing the print and so on, so OneInThree developed a streets of Brooklyn. The 3D robot Effects, re-conformed and DOP: Dan Trapp 2D: Marco Valentin, Jason Salo spiraling inward to an unfinished proprietary method to run infestation and water tanker were animated to zoom in time to the 2nd unit DOP: Guy Stephens TD: Damijan Saccio blank space where Escher signed sequential frames. Unfortunately, rendered though Toon Shade to beat. The transitions were then Stylist: Hannah Edwards Prod coordinator: Lauren Simpson and mono-graphed the piece. MathMap could only handle 40 achieve the Sin City-esque comic hand animated and the stills Compositing: Abbie Stephens, frames before it would crash. So book aesthetic. Toolkit The Leiden University and the added into the mix. Richard Holden with 15,992 frames to process, Softimage, After Effects, Illustrator, University of California at Berkeley the crew borrowed and stole The video was shot at 4K with For The Mill Bridge, Photoshop, Final Cut initiated a joint project to decode the math of the drawing and seven extra computers from the RED camera during a 12- Telecine Operator: James Bamford attempted to develop a more friends and colleagues to build hour, one-day shoot with a Post producers: Lee Pavey, satisfactory way of filling the hole an impromptu render farm. After minimal crew. OneInThree edited Catherine Short stash 40.08 stash 48.01 For Radical Media Socalled Director: Chris Milk Gnarls Barkley “Who’s “You Are Never Alone” Producer: Anne Johnson Gonna Save My Soul” Music video 3:36 EPs: Jennifer Heath, Music video 3:24 Frank Scherma DOP: Danny Hiele Label: Record Label: Prod designer: Zach Matthews Downtown/Atlantic JDub Records, New York Colorist: Dave Hussey/Co3 Records Director: Editor: Livio Sanchez/Filmcore Director: Benjamin Steiger Levine For Gradient Effects Chris Milk Production/VFX: VFX super: Thomas Tannenberger Production: BSL Productions VFX/CG super: Olcun Tan Radical Media Colonel Blimp Producer: Maya Martinez Animation/VFX: www.colonelblimp.com Compositor/Flame: Simon Holden Gradient Effects Montreal director Benjamin Lead modeler: Tom Curnan www.gradientfx.com Steiger Levine and his prodco BSL For BSL Productions Look development/shader: Productions go way beyond the Director: Benjamin Steiger Levine Raphael Protti Director Chris Milk follows up his call of duty and the low budget Producers: Patricia Boushel, Modeling/textures: Gina Kim “Gone Baby Gone” video (Stash to create one of the most striking Benjamin Steiger Levine Rigging: Chris Christman 27) with another CG-driven jaw- videos of 2007. BSL producer DOP: Bobby Shore Lighter: Alex Marin dropper for the Gnarls Barkley Patricia Boushel answers a few 1st assistant camera: Sid Zanforlin Animators: Randall Rose, industrial complex. The heart of our questions: What was the Production design: Keith Sintay was brought to bloody, beating creative brief? “There were no Nancy Hameder, Marie-Michelle Blood simulations: Eric Ehemann life by Gradient Effects in LA instructions from the client. It Deschamps Editor: Dylan Highsmith using HDRI maps to match the was conceived by the director SpecialFX modeling: Coordinator: Ian Barbella lighting and motion capture of an C.J. Goldman, Jonathan Lavallée actor for the body language. The with the help of the artist” For Image Metrics Creative challenges? “Finding Stop motion puppets: 15 shots of Cee-Lo’s lip-synch Dayna Gedney PM: Peter Busch performance was provided by the right rhythm and tone to fit Animator: Christian Brierley Socalled’s music, it being so Scenic painter: Jessica Mensch Image Metrics in Santa Monica Post: Antoine Wibaut, Paul Lead animator: Cesar Bravo using their proprietary image eclectic.” Technical challenges? Lead rigger: Oleg Alexander “Everything. Doing it all for no Raphael, Benjamin Steiger Levine analysis technology. According Motion Control: Christian Buehler Modeler: Tom Tran to Milk, “The lips had to move like money, but also tracking the eyes Tracker: Bryan Burger on the model head. It was all trial Camera-e-Motion: Delphine Saint- real human lips. We could not find Marcoux, Jonathan Barro Assistant producer: Pampata Jutte any other technology that was able and error.” Schedule: Four months For USC’s Institute for Creative Toolkit of pre-production, two-day shoot, Sound design: Simon Gervais to achieve the level of exacting Technologies: Paul Debevec Maya, RealFlow, mental ray, Flame, perfection I was asking for.” three months for post. Woman: Aasha Davis Image Metrics’ proprietary facial Man: Jorma Taconne animation solution stash 51.25 stash 43.08

Beck “Gamma Ray” The New Pornographers Music video 2:56 “Myriad Harbour” Music video 3:57 Record label: For Daft Arts Interscope Director: Jess Holzworth Record label: Director: Producer: Paul Hahn Last Gang Records Jesse Holzworth DP: David Lanzenberg Matador/Beggars Group Special make-up: William Lemon Production: Director: Daft Arts For Eight VFX Fluorescent Hill VFX super: Jean-Marc Demmer Animation: Production: EP: Baptiste Andrieux Revolver Films Eight VFX Producer: Marsi Frey www.eightvfx.com Lead motion designer: Animation: Fluorescent Hill Making her music video directorial Amalia Luyet-McMahan www.fluorescenthill.com debut, fashion designer and VFX AD: Yann Mallard collage artist Jesse Holzworth Senior compositor: Stefan Gaillot According to Mark Lomond collaborates with Santa Monica’s Compositor: Nicolas Cadorette of Fluorescent Hill, the main Eight VFX to amplify Beck’s Vigneau Motion designers: challenge in creating the new latest single into an eclectic Joe Chiao, Shue Nakahara, music video for The New visual cacophony. Holzworth Mathias Jourdes Pornographers was not with says the parade of circus-like Toolkit having only two hours to shoot a psychedelia was inspired by Illustrator, After Effects, Flame, band of eight members, but how “bikers, Dennis Hopper’s eyes, Photoshop to feature them “without relying on the compositing, fellow director the American desert, rebellion, conventional solutions”. Combining Johanne St-Marie animating the 60’s counterculture, Mother Earth, rotoscoped elements with regular lip sync and a skeleton crew of Street Poets and the cosmos.” animation and digital cutouts, friends animating the miniature The live action elements (including Lomond wanted to capture a look climbing figures. Chloe Sevigny in body paint) that was unique, would retain were all shot on green screen and as much detail as possible and For Fluorescent Hill combined with 2D designs created present each cut as its own poster Directors: Mark Lomond, Johanne by Eight VFX. or design piece. The video was Ste-Marie completed in eight weeks with For Revolver Films Co. Lomond handling all EP: Jannie McInnes Toolkit Photoshop, After Effects stash 48.15 stash 37.27

Santogold, Julian For Factory Films Chemical Brothers Casablancas, N.E.R.D. Directors: Dom & Nic “The Salmon Dance” “My Drive-Thru” Producer: John Madsen Music video 3:59 Music video 1:31 For Framestore CFC Record label: Client: VFX super: Ben Cronin Virgin Records Converse Lead TD/3D super: Simon French Director: Animation leads: Mike Mellor, Dom & Nic Agency: Nicklas Andersson Anomaly Animators: Dale Newton, Production: Directors: Sylvain Marc, Andrew Daffy, Factory Films Marie Hyon, Marco Spier Florent de La Taille VFX: Production/Animation: TDs: Dan Seddon, Framestore CFC Psyop Henry van der Beek, Alex Doyle, www.framestore-cfc.com Paul Denhard, Ben Falcone, www.psyop.tv UK directing duo Dom & Nic Diarmid Harrison-Murray re-team with Framestore CFC for Psyop co-directors Marie Hyon Jr TDs: Richard Coley, the follow-up to their disturbing and Marco Spier: “On set we used Jabed Khan, Peter Claes 2005 video for Chemical Brothers a setup with three HD cameras move. The scenes were then lit, For Anomaly Jason Vega, Jason Goodman, Compositors: Chris Redding, “Believe” (see Stash 09). The shooting three different angles at rendered and composited. All in CD: Mike Byrne Jaye Kim, Boris Ustaev Pedro Sabrosa, Darran Nicholson tone is far less threatening in this the same time, so that we would CG. I believe there were about AD: Ian Toombs Lead compositor: Molly Schwartz Telecine: Dave Ludlam tale starring a cast of 320 marine have different camera angles to 9,580 paper dolls all together in HOP: Andrew Loevenguth Compositor: Danny Kamhaji Producer: Sarah Hiddlestone transition and switch perspectives. the music video and it took 30 Brand director: Stephen Corlett Flame: Jamie Scott, dwellers – all hand animated in This also allowed us to be most animators two months to complete Dan Boujoulian six weeks. Okay, not completely For Psyop efficient and flexible since time the project.” Editor: Cass Vanini hand animated, “One thing that Directors: Marie Hyon, with our artists was precious and Storyboard: Ben Chan really helped along the way,” says For Converse Marco Spier we didn’t know what to expect. Design: Gordon Waltho Framestore lighting TD Simon CMO: Geoff Cottril EP: Lucia Grillo The roto artists then had to cut Roto lead: Leslie Chung French, “was a brilliant dynamic Head of international marketing: Producer: Jen Glabus out each person, frame by frame Roto: Tiffany Chung, Jordan script developed by junior TD Chris Lindner Asst producer: Carol Collins in over 150 shots. Eeek. Even Jen, Harvey, Kristian Mercado, David Henry van der Beek for animating VP marketing: Dennie Wendt AD: Jon Saunders our producer, roto-ed a few shots. Marte, Jess Mireau, Ale Monzon, the fins and other features. It was a Advertising manager: Scott Nelson Live action producer: We then brought all of the paper Chris Riemann, Joe Brigati massive timesaver in the animation Paul Middlemiss doll performers’ footage into a 3D For Cornerstone and brought an extra level of VFX super: Chris Staves Toolkit program, our animators brought Co president: Jon Cohen realism to the renders.” 3D leads: Chris Bach, XSI, After Effects, Flame, Avid, them to life and we carefully Co president: Rob Stone Pakorn Bupphavesa Photoshop, laser printer, paper, Read detailed production notes linked together the scenes to Sr VP: Jeff Tammes 3D: Jacob Slutsky, Bashir Hamid, scissors, exacto knife, glue stick, at www.stashmedia.tv/37_27. create a single connected camera Producer: Pharrell Williams Dave Barosin, Andreas Gebhardt, desk lamp stash 48.17 stash 26.20

Radiohead ZERO 7 FEATURING JOSÉ “House of Cards” GONZÁLEZ “FUTURES” Music video 4:33 Music video 3:16 Record label: Record label: XL, TBD ATLANTIC RECORDS / Director: TIME WARNER James Frost Director: Production: ROBERT SEIDEL Zoo Films Production/post: Blip Boutique 2MINDS VFX: www.2minds.de The Syndicate Based on the strength of director www.syndicate.tv Robert Seidel’s experimental Aerotec LIDAR laser systems For Velodyne Lidar Inc. MD: Kenny Solomon The instant Zoo Films director film _grau, he was commissioned covered the exterior landscapes Field application engineer: CG super: Adam Watkins James Frost discovered images to contribute a video to the with 64 lasers rotating and Rick Yoder CG TD: Rodrigo Teixeira could be created through laser DVD release of Zero 7’s “The shooting in a 360 degree radius Business development: FX animators: Sam Khorshid, scanning without a camera he Garden”. The result was this 900 times per minute. The data Mike Dunbar Attila Zalanyi knew he wanted to make a music opus of live action weirdness was then manipulated by Union CG: Duane Stinnett video using the technology. “The For 510 Systems manipulated in 3ds Max, After Editorial and The Syndicate to Compositing super: Alex Henning only band I could think of that Chief engineer: Pierre-Yves Droz Effects produced on a minimal create the final result. Flame: Verdi Sevenhuysen, would even entertain the idea, System admin: Troy Thompson budget in just two weeks. What’s Mike Ek, Kevin McDonald because of the experimental For Zoo Films/Blip Boutique CEO: Suzanna Musick it all about? We’d better let the Editorial consultant: Adam Gerstel values attached, was Radiohead. I Director: James Frost director answer for himself, “The For Aerotec Chief engineer: Albert Soto sent a proposal to their managers, Producer: Dawn Fanning video visualizes crushed objects CEO: James W. Dow System admin: Lap Luu whom I’ve known for a long time, Technical director: Aaron Koblin representing a diffuse future of Land modeling specialist/LIDAR: IT asst.: Thuy Le and a few months later I received EPs: Justin Glorieux, Gower Frost wishes and desires which shape William Wallace Lead girl: Lauren Maher an email saying Thom Yorke was DOP: Yon Thomas over time. Visible artifacts and Land modeling super: Casey Scott intrigued and wanted to know Toolkit the rough synchronization add For Geometric Informatics Inc. more.” The two-day shoot in Palm For Union Editorial Flame, Geometric Informatics, For Atlantic Records / For 2Minds subtle emotions to the uncertain Software/hardware development: Beach County Florida saw the Editor: Nicholas Wayman Harris Aerotec and Velodyne LIDAR Time Warner Director/producer/DOP/editor/ process.” Alas, in the end, the label Dale Royer, Luke Farrer, Geometric Informatics scanning Asst editor: Nathan Cal Video commissioner: post: Robert Seidel decided Seidel’s interpretation Song Zhang Watch Behind the Scenes on system used to capture close-up Gunther Walker was too “uncommercial” and For The Syndicate the DVD Toolkit 3D images of Radiohead lead commissioned another video VFX super: Ben Grossmann 3ds Max, After Effects Thom Yorke, while Velodyne and from UK director Duckeye (www. VFX producer: Magdalena Wolf duckeye.co.uk ) to replace it. stash 43.23 stash 30.28 Arcade Fire CHRIS CLARK “TED” “Black Mirror” Music video 3:03 Music video 4:14

Record label: Record label: Merge Records WARP RECORDS Directors: Director: Olivier Groulx, ARVIND PALEP Tracy Maurice VFX: Production: 1ST AVE MACHINE 1976 Productions www.1st-ave-machine.com VFX: To the delight of entomologists 1976 Productions everywhere, 1st Ave Machine Directors Olivier Groulx and Tracy Additional compositing: continues to screw with the line Maurice – responsible for the art Stephane Poirier between real and surreal in this direction on both Arcade Fire’s PM: Guillaume Bilodeau new video for Warp Records albums – channel 1920’s cinematic Assistant director: and artist Chris Clark. The CG surrealism in this video for the Robert D. Morais tentacles, bristles and mandibles Canadian indie rock band’s first PAs: Daniel Cadieux, were all created in 3ds Max and US single from their second album Géraldine Zembrana tracked onto live action insects. “Neon Bible”. Principal cast: Mathieu Samaille, According to director Arvind Jean Saint-Hilaire Palep, the goal was to give the For 1976 Productions Pyramids/shipwreck survivors: insects “a distinct regal quality and Directors: Olivier Groulx, Maria Aceves, Yannick Bélanger, augment their quality of perfect Tracy Maurice Mathieu Matthew Conway, Tristan intimidation. It’s a bit shocking, Producer: Nicolas Comeau Couillard, Jenny Craig, Jean but that’s what we love to do – DOP: Jean-François Lord Gagnon, Maxime Guillet, Rosalie For 1st Ave Machine triggering that primary emotional Editors: Maxime-Claude L’Écuyer, Hudon-Fecteau, Danny Jacques, Director: Arvind Palep response; that curious, excited Olivier Groul Nathalie Lavoie, Alain Lebeau, Producer: Serge Patzak surprise in viewers is what we are AD: Tracy Maurice Genevieve Leclerc-Couture, Compositor: WeiTo Chow always after.” AD assistant: Isabella Geddes Luc Lizée, Louise Malouin, Modeler: Capac Roberts Costume design: Clayton Evans France Mercil, Michelle Sterling, Insect handling: Sharon Curran Makeup: Marie-Claude Langevin, Steve Turmel Véronique Van Houtte Toolkit Dancers: Audré Juteau, Erin Flynn, 3ds Max Choreographer: Katie Ward Jamie Wright, Johanna Biennaise, Compositing/animation: Katie Ewald, Isabel Mohn Olivier Groulx stash 55.12 stash 51.17

Röyksopp “Happy Up Here” Of Montreal “ID Engager” Music video 2:41 Music video 3:25

Record label: Label: EMI France Polyvinyl Records Director: Directors: Reuben Sutherland Marc Reisbig, Hanne Berkaak Production: Joyrider Production: Passion Pictures VFX: Joyrider cityscapes with a torrent of For Joyrider Animation: www.joyriderfilms.com realistic CG elements. “Happy Up Director: Reuben Sutherland Hanne Berkaak www.passion-pictures.com Reuben Sutherland makes his Here” is the first official promo Producer: Spencer Friend fourth appearance in Stash with for the upcoming release of DOP: Reuben Sutherland Marc Reisbig (of directing this fusion of all things close to Röyksopp’s third studio album Editor: Reuben Sutherland collective SSSR) and co- titled Junior. the heart of any child of the 1980s Toolkit director Hanne Berkaak create – Space Invaders, Transformers, For EMI France After Effects, Photoshop, Premiere a disarmingly simple but Ghostbusters. The video melds Commissioner: John Moule mesmerizing video for Of Montreal a flow of background live action by adapting the Surrealist game of “The Exquisite Corpse” where a piece of paper is folded into three: the top third showing a person or animal’s head, the middle third the torso and the bottom third the legs and feet. The players take turns adding a portion to the drawing, conceal of the effects. I always wanted to For Passion Pictures it by folding the paper, and pass draw an alien in a chef suit and Directors: Marc Reisbig (of SSSR), it to the next player. Co-director then I got to animate him dancing Hanne Berkaak Hanne Berkaak, “All the drawings to this amazing song.” Schedule: 2D Animation: Hanne Berkaak, are 2D and everything else is stop six weeks. Robin Bushell, Julia Pott Stop frame animation: motion. The bird is made out of For Polyvinyl Records Matt Cooper plasticine, and we used cotton Commissioner: Seth Hubbard wool and sparkly paper for some Compositing: Marc Reisbig, Hanne Berkaak stash 46.18 stash 13.25

Flairs COMMON “GO” “Better than Prince” Music video 3:27 Music video 3:10 Record label: Record label: Muddy Trench GEFFEN Directors: Directors: Jonas&François CONVERT, MK12, Production: KANYE WEST El Niño Production: Animation/VFX/design: THE EBELING GROUP Jonas&François Design/animation: El Niño CONVERT http://elnino.tv/ MK12 www.mk12.com Having a literal “carte blanche” as their starting point, the much Convert, the newest addition in-demand French directing duo to The Ebeling Group roster, of Jonas&François crafted the collaborate with Matt Fraction from music video for Parisian artist MK12 on this video that breaks Lionel Patrick Rault (Flairs) out through the usual music channel of 3,000 individual hand-drawn mush with a clean look and black pen illustrations on white smooth retro-future motion design. paper. The initial sketches were Matt Tragesser, Convert CD, says scanned and digitally redrawn to all three directors were sensitive be played back at 12 frames per For The Ebeling Group to the challenge of making a second. The video was completed HOP: Alexander Dervin video about sexual fantasies piece by piece over the course Editor: Jason Webb while staying true to Common’s of four months in between other DP: Martin Ahlgren rep as the thinking person’s hip- directing projects. In true rebel Live action producer: hop artist, “We knew if we didn’t director fashion, Jonas&François Mikha Grumet get it right, his fans would say, created the bulk of the initial For El Niño Post producer: Rosali Concepcion ‘Common’s doing what?’” sketches during on-set downtime Director/animation: Toolkit while directing the high-profile “4 Jonas&François Maya, After Effects, Final Cut Pro Minutes” video for Madonna and Toolkit Justin Timberlake. After Effects stash 38.19 stash 44.28

They Might Be Giants Dionysos & Olivia Ruiz “I’m Impressed” “Tais-toi mon Coeur” Music video 3:27 Music video 2:37 Record label: For Bent Image Lab Record label: Idle World Recordings / Director: Rob Shaw Barclay/Universal Zoe Records EPs: Chel White, Ray Di Carlo Director: Director: Sr producer: Tsui Ling Toomer Stéphane Berla Rob Shaw Producer: Kara Place Creative partner: Chel White Production: Production: DOPs: Mark Eifert, James Birkett LN Productions Bent Image Lab Animators: Rob Shaw, Sarah Hulin Animation: Animation: Assistant animators: Brian Kinkley, Cube Creative Bent Image Lab Marty Easterday www.cube-creative.fr www.bentimagelab.com Character designer: Bartek Prusiewicz “Tais-toi mon Coeur” is a song To get the mix of epic and Storyboard: Monique Ligons from the Dionysos album “La miniature scales he wanted for Art dept director: Mécanique du Coeur” composed as a soundtrack for the book this tale of a dictator’s rise and Solomon Burbridge of the same name by Dionysos fall, director Rob Shaw opted Art dept: Diana Joy Parker, singer Mathias Malzieu. Director to animate the stop motion in a Marty Easterday Stéphane Berla says he “wanted series of layers and assemble Compositors: Orland Nutt, to create pictures that look like them in post. “I wanted to shoot Brian Kinkley stop-motion with wood puppets. it in a bit of a flat way – as three- Online editor: Jon Weigand But we had a small budget for this dimensional layers – stacked on PA: Chris Parkhurst kind of video and the schedule top of each other, going away from Interns: Javan Ivey, Alisa Stern, was only six weeks. So we didn’t the camera. I feel that gives it a Jamie Edwards, Jesse Hollis For LN Productions Yves D’yncaud, Frédéric Cros, Shading: Yves D’yncaud storybook fairytale quality. You Director/writer: Stéphane Berla Yann Couderc, Maxime Poron, Rendering/compositing super: have any time for pre-production can see the technique in a lot of PM: Nicolas De Rosanbo Franck Balson, Timothée Ghislain Garlin and the whole project was a Russian and Eastern European Vigouroux Animation: Johann Le Pouder, constant race.” The dramatic and For Cube Creative stop-motion animation.” Schedule: Character setup: Jean-Paul Suau moody animation was handled by Character design: Joann Sfar Link, six weeks. Alexandre Bretheau Compositing: Jérome Lionard Paris-based animation/VFX studio Bertrand Todesco, Karim Friha, Modeling: Nicolas Lambelin, Animation super: Victor Moulin Cube Creative. A major success Read more production details at Thierry Beltramy Bertrand Todesco, Rémi Certhoux, Set design: Sam Mahlone in France, the feature film rights to www.stashmedia.tv/38_19. Color calibration: Jérome Lionard “La Mécanique du Coeur” were David Arnould Line producer: Aurélia Sellier Toolkit purchased by Luc Besson with UV/textures: Timothée Vigouroux, Rendering/compositing: 3ds Max, V-Ray Berla and Malzieu set to co-direct. Rémi Certhoux, Julien Rambaldini Loic Lecygne, Eric Lautard, stash 49.19 stash 45.16

My Morning Jacket Hot Chip “Touch Me I’m Going To “One Pure Thought” Scream, Part 2” Music video 3:47 Music video 3:59 unfurled naturally and a piece that Record label: Record label: felt connected to the music. EMI ATO Records “We were aiming to achieve a Directors: Director: certain level of depth in the lighting Bevis Martin, Mixtape Club of this piece, while still maintaining Charlie Youle that hand-painted, stylized Production: Animation: look. Since the light source was Hornet Trunk Animation generally moving, we had to come www.trunk.me.uk Animation: up with a system of lighting in 2D Mixtape Club that achieved a sense of depth According to Richard Barnett, www.mixtapeclub.com while maintaining the proper producer at London’s Trunk Animation, UK electro-pop group Mixtape Club directing team: “The layering.” Schedule: nine weeks from storyboards to delivery. Hot Chip wanted their latest video band wanted us to use the song to have a “lo-fi and a handmade as a starting point for creating For Mixtape Club quality to it”. With a production a bizarre, imaginative world EP: Michael Feder timeline of 12 straight days, and take people on a fantastic Producer: Hana Shimizu design, experimentation and journey. When we spoke about Designers: Erin Kilkenny, Emmett compositing were all happening at references, or inspiration, Jim Dzieza, Arthur Hur, Michael Seiser, once. Barnett admits that although James was quick to tell us he Tavet Gillson, Joe Posner “the project was technically didn’t want a piece that looked Animators/compositors: Arthur simple, the crunch really came like anything made in a particular Hur, Erin Kilkenny, Emmett Dzieza, down to people managing their style. He wanted us to start from Michael Seiser, Tavet Gillson, own work loads,” proving that scratch and see what happened. Andrew MacFarlane, Will Decker “good compositors are literally We tried to create a piece that 3D: Emmett Dzieza worth their weight in saffron”! spoke to the mood of the music Editors: Joe Suslak, Anita Chao For Trunk Animation Toolkit and themes of the lyrics without PA: Corey Ryan Producer: Richard Barnett After Effects, Flash, Photoshop having any direct connection Toolkit Directors: Bevis Martin, between them – such as lip sync Charlie Youle or performance footage. It was After Effects, Photoshop, Cinema 4D, Flash Compositor: Alasdair Brotheston, challenging to strike a balance John Taylor, Rob Ward between a coherent narrative that Animators: Aaron Lampert, Nick Brooks stash 45.15 stash 33.17

R.E.M. “Hollow Man” how that moment of realization, BJORK “EARTH INTRUDERS” Music video 2:40 the explosion of understanding, Music video 4:01 changes your path. Record label: “From there we took a page from Record label: Warner Bros. REM’s approach to writing and ONE LITTLE INDIAN LTD Directors: recording the new record. We Director: Gary Thomas, wanted to take the punk aesthetic MICHEL OCELOT Stefan Woronko and represent it for 2008. We wanted to see the Hollow Man Production: Production: as a person (or in our case three NORD-OUEST Crush Inc. people), as a digital avatar. We Animation/VFX: Animation: wanted the lyrics to stand out MACGUFF Crush Inc. front, plain and confronting www.macguff.fr without losing their layers of www.crushinc.com French director Michel Ocelot meaning. We felt that the moment completed his 2006 animated Gary Thomas, MD/CD Crush, of understanding needed to feel feature film Azur et Azmar at the Toronto: “We first spoke to Michael like an explosion, and that dictated MacGuff studio in Paris and chose (Stipe) at the end of February 2008 the rush of images, punctuated the studio again to help him pull after he heard about us through by moments of clarity (the falling off the technical and creative the work we did last year for Doug man). Coupland’s new book The Gum chores required for the first release Thief. He wanted a video that was “The creative process was liquid from Bjork’s Volta album. Due and constantly changing – we to limited access to the artist, frantic and dense and not overly were adding and subtracting until her performance was captured polished or fretted over. Michael apartment, in our grubby stairwell For MacGuff For Nord-Ouest Toolkit sometime around lunchtime on with a multi-camera set-up then has great instincts about what – just generally got back to a place VFX director: Sebastien Rey Director: Michel Ocelot Proprietary software: Trukor the day the video shipped. We projected onto a 3D model of visuals are right for the song, where all creative people start and EP: Alexandra Added 1st ADs: Eric Serre, Anne Lise (compositing), Symbor (rendering) started out feeling like typography her face. The CG head was then but really allowed us to run with then slowly get away from, to try to Creative team: Max Tourret, Lourdelet-Koehler was going to be the main device, animated to match the motion the clip. make pictures work like music.” Jerome Gordon, Amelie Guyot, EP: Eve Machuel then felt a hand-animated section Florence Pernet, Fabien Coupez, Producer: Christophe Rossignon and lip synch of the live action “The meaning behind the lyrics would give it the humanity the For Crush Inc. – all so the animated lava-lamp- really struck a chord with us. Soline Guyonneau, Christophe words needed, then as we Directors: Gary Thomas, Barnouin, Michael Armelino, style textures could be projected We all fear losing who we are or explored, thought a live action Stefan Woronko realistically across the surface. getting so far down a path, either Karine Ferron, Antoine Douadi, representation would connect all EP: Jo-ann Cook Yoan Copinet, Peregrine Schedule: three weeks in career or personally, that we the elements. Producer: Stephanie Pennington can’t get back. We wanted to build Mccafferty, Damien Gaillardon, For One Little Indian Ltd on that as our theme: the idea “We used every toy in the building, Watch Behind the Scenes on Thomas Jacquet, Yurik Figueroa Commissioner: Paul MacKee and universality of isolation; to see shot footage in our producer’s the DVD. stash 38.20 stash 40.20

The Sea and Cake Mika “Lollipop” “Coconut” Music video 3:12 Music video 2:40 Record label: Record label: Thrill Jockey Records Casablanca Director/editor: Director: Lung Bonzom Animation: Animation: Lung Passion Pictures Stash: What was the project www.passion-pictures.com brief? Bonzom is the collective name for Lung: None. five young French animators (Jack, Kalkair, Pozla, Waterlili and Moke), Did that freedom create any all recent graduates of renowned creative challenges? French animation schools Les Erm,,, none. Gobelins, La Poudriere and I see. Any technical L’ESAAT. They’ve worked together challenges? as animators on series and feature Nope, pretty simple one this. projects, including the multi-award winning “Persepolis” which was How about a schedule? selected to represent France Three days doing it and three at the 2008 Oscars. Earlier this weeks for Thrill Jockey to decide year, Passion Paris offered them whether to release it. For Casablanca the opportunity to gather their Where has it been seen? Commissioner: John Hassay creative energies for commercial Internet, festivals, my house. For Passion Pictures representation. This project for Director: Bonzom London singer Mika, Bonzom’s Anything else? first music video, expands on the Nothing to report really. Just Producers: Marc Bodin-Joyeux, Nicola Finn, Katie Mackin whimsical design of the artist’s wanted to make a mess out of website (www.mikasounds.com). other peoples’ mess. Offset the Animation: Bonzom track with some sore eyes. Toolkit Flash Toolkit After Effects, Final Cut Pro stash 52.18 stash 55.17

Le Le “Breakfast” Mistabishi “Printer Jam” Music video 3:20 Music video 4:11

Record label: Record label: used a lot of planning and post Magnetron Music Hospital Records render options to gain the effects Directors: Director: I wanted. I started by modeling, Sandder Lanen, Parra Kenny Frankland texturing and lighting the complete room then baked all the textures Animation: Animation: so the soft shadows became Parra TinSpider Studio part of the original texture. This Sandder www.tinspider.com meant I could render the room as www.rockwellclothing.com/ Working through Radar Music a background plate without using parra/ Videos, UK director Kenny any lights. It took a while to set up, www.sandder.com Frankland used his microbial but reduced my render times budget to extend the most from four minutes a frame Dutch talents Sandder Lanen and mundane of technical glitches into to one second.” Parra team up for a much loved a riveting nightmare. With only five Toolkit but controversial music video for weeks for production, Frankland French popsters Le Le. Sandder 3ds Max, Photoshop, After Effects, says the biggest challenge was Premiere Lanen: rendering. “To get past this I “There was no brief for the project “The video was pulled from as Parra is one of the band YouTube because of ‘user members. I had made three other agreement violations’ that were videos for Le Le and some more not explained. YouTube offers no for the label so it was somehow possibility for discussion and/or logical to do this together. The clip correspondence, so that was the is based on the animated loops end of that. The suspicion arises used during the live shows that get that some people failed to see mixed with live drawing. the irony in the lyrics, rather than the drawings being too rude, but we’ll never know. It might as well be forbidden to depict cheese on YouTube.” Toolkit Illustrator, After Effects, Final Cut stash 55.13 stash 54.16

Bloc Party Flogging Molly “Float” “One Month Off” Music video 4:17 Music video 3:43 Record label: Record label: Witchita Side One Dummy Records Director: Directors: D.A.D.D.Y. Karni & Saul Production: Production: Red Jam Productions Flynn Productions Animation/VFX: after the war. The themes of this Animation/VFX: D.A.D.D.Y. song – the loss of something Flynn Post www.teamdaddy.com simple, perhaps a sense of www.flynnproductions.com When the band members of Bloc innocence within a relationship Israeli/British directing duo Karni & Party proved to be unavailable to – strangely brought these back Saul (art and fashion photographer shoot their “One Month Off” video, to mind. We acquired a number Karni and 3D director/animator Dublin’s D.A.D.D.Y. turned to the of the films then re-edited and Saul) concoct a perfect mix of legendary grandaddy of stop animated over them adding some stop-frame and 3D animation for motion to solve their production ‘reality’, so they lost that innocent this track from Irish American dilemma. “We are big fans of feeling and meaning they once Celtic punk band Flogging Molly master animator Ray Harryhausen, had. We have no idea what Mr. through Flynn Productions. and a while back found a series Harryhausen will think if he sees Location plates were shot with of fairy tales he animated in the it, but some of the new cartoon a digital SLR either hand held or 1940s using film stock he acquired violence makes parts of the video on a self-built dolly track. The CG cheaply from the American Army darkly funny, which he might like.” elements were handled in Maya Using Premiere to edit and 3ds with After Effects for the final Max and After Effects to animate composite. and composite, the video was wrapped in just under two For Side One Dummy Records For Flynn Productions sleepless weeks. Commissioner: Thomas Dreux Directors/designers: Karni & Saul Producer: Natalie Bayle For Witchita Animators: Karni & Saul, Kostas Commissioner: Jill Kaplan Koutsoliotas, Stave Brown Toolkit Toolkit Premiere, 3ds Max, After Effects Maya, After Effects, Premiere stash 52.18 stash 53.17

Oren Lavie Radiohead “Weird Fishes” “Her Morning Elegance” Music video 5:44 Music video 3:36 Directors: Record label: Yuval Nathan, TBD Records Merav Nathan, Director: Oren Lavie Tobias Stretch Animation: FilmsAnimation/VFX: Yuval Nathan, Tobias Stretch Films Merav Nathan www.tobystretch.com www.onewingfly.com Concise words from Tobias Stretch Songwriter/director/writer Oren the lone animator and director Lavie enlists fellow Israelis (and from Philadelphia, PA, on the husband and wife) director/ subject of his winning entry for the animators Yuval and Merav Nathan Pitchfork Radiohead “In Rainbows” to help take his first step into video music video contest: with this clip for his track “Her Morning Elegance”. Production Stash: What was the project brief? began with four weeks spent Tobias Stretch: Make the best creating a CG animatic where animation video to win. 3D dummies stood in for the Biggest creative challenge? characters. Then, with the camera TS: The weather. slung from the ceiling, 3,200+ stills were shot over two days to capture Main technical challenge? the dream-like narrative. TS: Not enough money. Actress: Shir Shomron Production schedule? Photographer: Eyal Landesman TS: May to September. Anything else? TS: Don’t ever give up, even if you are very poor like me. Director/animator: Tobias Stretch Toolkit Final Cut stash 52.15 stash 52.19

Paul McCartney “222” Kanye West “Welcome To Music video 3:46 The Heartbreak” Music video 4:31 Client: Record label: MPL Communications Ltd. Island/Def Jam Director: Director: Marco Sandeman Nabil Production: Production: Irregular Films Partizan Animation/VFX: camera, the footage entered a Animation: five-stage process of editing, data- Marco Sandeman Partizan Ghosttown Media moshing, VFX work, compression Irregular Films alterations, frame tweaks and After www.irregularfilms.com www.partizan.us www.ghosttownmedia.com Effects to create the final piece. Lisa Power, project coordinator Glamorizing the video For Partizan for MPL (London): “The “222” compression glitch known Director: Nabil video was produced on-spec by as “data-moshing”, fashion EP: Jeff Pantaleo Marco Sandeman and presented photographer and music video Producer: Kathleen Heffernan, as a completed piece to MPL director Nabil Elderkin elevates Kelley Gould (Marco had done other film work visual distortion to visceral art in DP: Josh Reis for us in the past). The idea was this Kanye West music promo. Production designer: Eric Archer to make a fireworks display where Nabil: “I wanted to use the Stylist: Theodore Gilliam every instrument was represented technique in more of a strategic Editor/compression FX: by a different type of animated way, using calculated moshes, Ryan Bartley light. Breaking down the song colors and textures to compliment Visual effects/design: into its individual layers and then the effect. Different parts of the Jeff Lichtfuss, Brandon Parvini assigning the right light to each song represented different feelings sound took a while. The four-day Toolkit – I wanted to come up with a shoot in a barn in France was After Effects Filmed by Pia Tryd visual representation of the flow followed by two months of editing and textures that I feel are very and animating 4K files on an iMac Toolkit important in this track.” in London.” The clip premiered Final Cut, Photoshop, Shake, as a pre-show film for the Paul LightWave Having shot Kanye and Kid Cudi McCartney Friendship First entirely on greenscreen in super concert in Tel Aviv in September.” slow motion with the Phantom HD stash 56.16 stash 48.28

N.A.S.A. “The People Tree” Grace Jones Music video 4:15 “Corporate Cannibal” Music video 5:51 Record label: Director: Spectrophonic Sound Nick Hooker Directors: Production: Syd Garon, Rabbit Johannes Gamble N.A.S.A VFX: Production: Version2 Squeak E. Clean Union Editorial Click 3X Animation: www.version2.net Bob Industries www.unioneditorial.com Superstudio www.click3x.com www.bobcentral.com www.superstudio.tv “Make me look like an insect,” is Five years ago American producer/ the directive Nick Hooker says DJ/composer Sam Spiegel, aka and mix still artists’ work with “Lance Accord had an old roll of For Bob Industries he got from Grace Jones for this Squeak E. Clean, teamed up with animation. This music video melds film he left out in the sun for five Director/animation: Syd Garon video promoting her album due the artwork of Marcel Dzama and years, he shot the film for us then Sao Paulo DJ Zegon under the For Superstudio out in October 2008. His response the animation skill of Syd Garon we aged it – Syd dragged it up name N.A.S.A. (North America/ Director/animation: was to make “something that was and Johannes Gamble. and down the street several times, South America). Their debut Johannes Gamble simultaneously disturbing and walked all over it and then let the album, The Spirit of Apollo, finally “The original art pieces were Art: Marcel Dzama beautiful.” some pulsating movement that I all. Not many female artists would For Rabbit cat bite it for while. Then we took couldn’t do myself. I felt like a very do that. Madonna and Mariah Director: Nick Hooker released on February 17, 2009, paintings, collage, and sculpture Producer: Susan Applegate “The distortions were a it to a transfer house called New demented plastic surgeon, with a Carey etc. would demand days DOP: George Steel features a wide spectrum of that had to be scanned or Transfer: New Hat combination of Flame and After Hat in Santa Monica – they have a stylus instead of a scalpel. But I of rotoscoping and beauty work collaborators. photographed and manipulated – Film: Lance Accord Effects. It ended up being a frame- For Version2 million dollar film transfer machine knew that Grace’s beauty is very, to remove every blemish. Grace it was a Photoshop extravaganza Telecine/blood donor: by-frame thing because it needed Flame: Kieran Walsh Susan Applegate, producer at that made most of the scratches very intense and could handle a lot was just the opposite, she had that required two interns hundreds Adolfo Martinelli constant adjustment to make it Squeak E. Clean in Los Angeles: disappear. Doh! So we took it back of digital violence. just been in the sun in Jamaica For Click3x of hours. After everything in the Photoshop: Jeremy Kaller, work; it would work for three or “Squeak E. Clean and DJ Ze into the parking lot, drove a car for about six weeks so she was Flame: Mark Szumski digital world was done it looked Jennifer Fujikawa four frames and then it would lose “We took off all her make-up, in melded their sounds and asked over it, threw some water on it and intensely black and we wanted to too polished so we decided to its intensity so I had go in and fact we actually put a peel on For Union Editorial their favorite artists and creative spliced it up a bit. The transfer guy Toolkit exploit that. We thought of her as distress it the old fashioned way by pull it back. It was torture! Then I her face to remove any dirt or Edited: Sloane Klevin influences to join them in making cut his color correcting finger in After Effects, Photoshop a kind of fetishistic digital voodoo putting it on film. worked with Sloane on the cut and dust. What was left was just the music. When the time came to the process and like a trooper he doll that had come to life.” Toolkit then we had two rounds of Flame raw glow of her skin and I did no create videos they wanted to poured the blood on the film.” After Effects, Flame duplicate this creative synergy work, fixing little things and adding beauty work afterwards, none at stash 46.16 stash 56.20

Interpol UNKLE “Heaven” (Fully “Rest My Chemistry” Flared Intro video remix) Music video 5:00 Music video 6:58 Record label: Record label: Capitol Records Surrender All Director: Directors: Blip Boutique Spike Jonze, Ty Evans Animation: Production: Blip Boutique Lakai Limited Footwear www.blipboutique.com www.lakai.com Justin Glorieux, EP at Hollywood’s animation/After Effects artist Roger For Blip Boutique According to Charlene Myles at Blip Boutique: “We knew we Scott took over to give timing and Visual programmer: Aaron Koblin UNKLE’s label Surrender All in wanted to do something with structure to the piece. Dynamics programmer: London, this track “was used in mapping data, we started thinking Aaron Meyers “It was definitely a challenge of the acclaimed skate film ‘Fully about body systems, and how After Effects/editor: Roger Scott communication. As the images Flared’ directed by Spike Jonze we could expound on the idea of for Light Assembly were being created, it was not and Ty Evans. This collaboration systems from the smallest to the EP: Justin Glorieux an easy share process as it was inspired the directors to take largest scales. We worked with a very time consuming to develop Toolkit footage from the film and re-edit visual artist, Aaron Koblin who we the imagery in the complex After Effects a sequence of shots that shows originally found through his data- programming framework Aaron the Lakai skateboarding team mapping project that used FAA crafted, and to render it out so we demonstrating their skills as data of aircraft flights to create could actually see what we were they negotiate various exploding these beautiful patterns of light. discussing. Therefore, for quite obstacles.” No CG was used, only We asked him a lot of questions a long part of the development, carefully choreographed moves about how he generated the all we would have to work with For Lakai Limited Footwear 1st AD: Matt Finish Photosonics: Gary Anderton and perfectly timed explosives. visuals and started talking about were words. Also because the EPs: Kevin Dunlap, Brian Dunlap, PAs: Keith Balser, Todd Manes, Key grip: Eric Zucker “As far as we know,” adds Myles, what we wanted the visuals for this programming was so complex, Tim Gavin, Rick Howard, Mike Michael Balasco, Matt Silverman, SPFX super: Marty Bresin “No skateboarders were hurt while video to look like and how the very once it was rendered tweaks were Carroll, Eric Koston, Megan Tony Oberstar, Patrick Strange Set construction: Brent shooting this, though it’s hard to loose narrative structure should not easy to implement as the basic Baltimore, Spike Jonze DOP: Mark Williams Kronmueller, Audrey Napier believe in some of the shots.” work. So there was a foundation of Directors: Spike Jonze, Ty Evans 2nd camera: Spike Jonze VFX: Ben Gibbs programming that created it would Watch Behind the Scenes on raw material to work from, and he Editor: Ty Evans 3rd camera: Ty Evans be very hard to change.” Schedule: Telecine: Stefan Sonnenfeld, the DVD created these incredible programs Producer: Emma Wilcockson 1st A.C.: Jeff Caples four months. Ryan Greenberg to translate data and actually Associate producer: 2nd A.C.: Matt Williams draw over space and time in a Katie Molenaar Loaders: Chris Strauser, Lab services: Fotokem style we all liked. At this point the Prod super: Shannon Strange Daniel Pacifici MUSIC VIDEOS