55 Establish your horizon Your creative vision knows no limits. Where others end, you continue to the next horizon. Your production technology needsto keep up with you.
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Copyright © 2008. Sony Creative Software Inc. All rights reserved.
VP8b_Stash.indd 1 2/20/08 11:42:37 AM As New York’s Antarctic winter finally releases its grip and feeling returns stash to my extremities, I find myself besieged by strange thoughts of venturing DVD MAGAZINE 55 outside...voluntarily. Stash Media Inc. And those flights of fancy made me think of the real flights of airplanes Editor: Stephen Price which made me think of...well, Vegas. Not because my gambling Publisher: Greg robins addiction has resurfaced or because of some dark urge to score a Managing editor: HEATHER GRIEVE foreclosed bungalow in the desert, but because Stash is making its debut Account managers: APRIL HARVEY, CHRISTINE STEAD at NAB this year. Associate editor: ABBEY KERR The Stash crew and I are excited – from April 20-23 we’ll be slinging disks Music editor: STEVE MARCHESE and banging down deals in booth SL4429 then rushing out to Lil’s Liquor Proofing editor: MARILEE BOITSON Barn before we hit up Andy’s Ammo Ranch and Gun Range to let off a few Preview/montage editor: rounds and a little steam. Where imagination HEATHER GRIEVE and reality converge. Preview opening animation: TANTRUM If you miss us in Vegas we’ll also be brightening the exhibition floors at Contributing producer: ERIC ALBA BDA June 16-18 in New York and at Siggraph in New Orleans August 4-6. Animation inspires games. Effects merge with film. Science conspires with art. Animation technologies drive the Technical guidance: IAN HASKIN entertainment industry, empower independent creatives and inspire new generations to create for ever-expanding Cover image: MR. HYDE Please drop by. Meet the crew. Pick up a deal or two. visions. WWW.STASHMEDIA.TV The industry’s top level decision-makers are descending on Stuttgart in greater numbers than ever before. Come soak ISSN 1712-5928 Stephen Price up the atmosphere, the knowledge and the opportunities. Enhance your perspectives in stereoscopic entertainment, get Editor game with the world’s most successful makers of interactive content and check in on the latest techniques and milestones. New York, March 2009 [email protected] Legal things: Stash Magazine and Stash DVD Stay posted and check out our program, now online at www.fmx.de ! are published 12 times per year by Stash Media Inc. All rights reserved and contents Unique partnerships with like-minded organizations make for a one-stop trip not just to the conference, but also the copyright Stash Media Inc. No part of this renowned Festival of Animated Film and the Animation Production Day, a business meeting on financing animation brands. booklet nor the Stash DVD may be copied without express written permission from www.animationproductionday.de the publisher. Stash Media Inc. does not promote or endorse products, services or Find out more at www.fmx.de events advertised by third party advertisers. Submissions: www.stashmedia.tv/submit Subscriptions: www.stashmedia.tv Contact: Stash Media Inc. 494-1641 Lonsdale Avenue, North Vancouver, BC V7M 2J5 Canada. Curated in New York. Printed in Canada.
fmx09_stash booklet add_02.indd 1 05.03.2009 11:07:03 stash 55.01
Comcast “Sing-a-Long” TVC :60 cast performing. We even make a cameo if you look close enough. Using an arresting illustration style Agency: our 3D team built Comcast Town Goodby Silverstein & to comp the live action into. We Partners liked the idea that whilst the real Director: cast get on with their ordinary Smith & Foulkes daily business there is a plethora of incidental strange animated Production: characters that not only reinforce Nexus the song lyrics but have a lot of fun Animation: doing so.” Nexus For Goodby Silverstein & www.nexusproductions.com Partners The centerpiece spot in the CD: Jamie Barrett latest of a series of striking Group CD: Chris Ford campaigns for Comcast from ACD/AD: Stefan Copiz Goodby Silverstein & Partners ACD/copy: Paul Charney relies on Oscar-nominated UK Copy: Andrew Bancroft directors Smith & Foulkes and Producer: Ashley Sferro their singular talent for turning just For Nexus about anything into one large and Director: Smith & Foulkes mischievous musical production. EPs: Chris O’Reilly, Julia Parfitt Smith & Foulkes: “It was really Producer: Isobel Conroy the music that first attracted AD/VFX super: Fletcher Moules us to the project. With this as Illustration/character design: our starting point we thought it Chris Martin would be fun to create a world where the whole community For Bright Pictures lives to the rhythm of the music. EP: Rudy Callegari We decided there would no cuts 1st assistant director: Todd Lent and the environment would be DOP: Ueli Steiger totally isometric. It was fun for Producer: Pip Malone us because we got to shoot the Interactive director: Tim Dillon stash 55.03 stash 55.02 was apparent an artificially large splash was not in keeping with the Audi Quattro Boags “Pure Waters” feel of the commercial – it looked “Urban Carving” TVC :60 like we were hiding something. TVC :45 The solution was to keep the Client: motorcycle splash throughout and Agency: Lion Nathan not use the push bike splash at all. Kempertrautmann, Hamburg Agency: “I then slowly transitioned the Publicis Mojo bike and rider piece by piece, Director: Director: staggering the effect over the Daniel Kleinman Steve Rogers duration of the shot. The riders Production: head, arms, and bike were all Production: Markenfilm rotoscoped out separately so I Revolver Films Rattling Stick could morph and offset each little VFX: VFX: bit, and trick the eye into not really Framestore Fin Design & Effects seeing it.” Schedule: eight days in www.framestore.com www.findesign.com.au Flame, two days of Combustion. camera and body tracking and for body tracking and modeling, For Rattling Stick Justin Bromley, VFX supervisor/ Michael Stanish, Framestore plenty of work for the compositors. Houdini for the VFX animation, Producer: Johnnie Frankel For Publicis Mojo VFX producer: “The brief was This along with the tight schedule Houdini’s Mantra for rendering, DP: Paul Cameron Flame compositor at Fin Design CD: Micah Walker in Sydney: “We were asked to to create a totally believable film meant we really needed a quick Flame for compositing. Schedule: Editor: Adam Spivey Creatives: Grant McAloon, Steve of a downhill skier carving his and easily repeatable pipeline for three-day location shoot; original make sure the visual trickery For Framestore Wakelam way through the streets of San the FX work. five-week post schedule extended was totally seamless and kept in VFX super: William Bartlett Francisco to reflect the all-wheel to seven. sympathy with the overall low- For Revolver Film “Creatively, one of the hardest CG lead: Diarmid Harrison-Murray drive technology of the new Audi key tone of the TVC. “Technically Director: Steve Rogers challenges was settling on the look For Kempertrautmann TDs: Michele Fabbro, Quattro. the most challenging shot was EP: Michael Ritchie for the debris and spray from the CDs: Frank Bannöhr, Willy Pol Chanthasartratsarmee, the push bike to motorbike Producer: Georgina Willson “Our first challenge was choosing skier. It was really important to the Kaussen, Jens Theil, Gerrit Zinke Scott Eaton, Jabed Khan, transition. I was planning to use For Fin Design + Effects an overall approach that would client we retain the feeling of snow AD: Frank Bannöhr Tracking: Melvyn Polayah, the water to cover the change EP: Emma Daines produce the most convincing spray, whilst at the same time Copy: Willy Kaussen Jabed Khan, from push bike to motorbike, but Producer: Billy Becket look. The final solution was to creating an effect that felt realistic Line producer: Jannik Endemann Telecine colorist: Steffan Perry as it turned out the water was a shoot everything on location with for street skiing. With no real Producer: Michael Stanish Lead Flame: Justin Bromley For Markenfilm little underwhelming. I had the a skilled rollerblader. The blades reference to go on we just had to Flame: Christophe Allender Producer: Simona Daniel Sound: Audioforce, Berlin second unit shoot some water were later removed and replaced dive in and start developing some 3D:Tom Corbett Director: Daniel Kleinman splashes for me against black, 2D: Maxence Peillion with CG skis and spray. Fast cut different looks to find out what Toolkit so I knew I could beef up the in- editing and a handheld feel to the would work best for everybody.” Maya, Houdini, Houdini’s Mantra, camera water if needed. Once I Toolkit camera work meant we had over boujou, 3D Equalizer Boujou and 3D Equalizer were had all my material in the Flame Flame, Combustion 50 FX shots in a 60-second film, used for camera tracking, Maya suite and began compositing, it a considerable amount of difficult stash 55.04 stash 55.05 For G-Net STEPP “Dragons”, “Ravens” EPs: David Getson, David Moodie, “Dante’s Inferno” TVC’s x 2 :30 John Rosenberg TVC :30 For CACTUS CDs: David Moodie Strategic director: Joe Conrad Writer: David Moodie Client: CD: Norm Shearer Original score: Garry Schyman Client: Colorado Department ACDs: Jeff Strahl, Brian Watson Sound: Paul Gorman, Electronic Arts of Public Health and Copy: Jim Morrissey David Swenson Agency: Environment Producer: Danielle Bryan Additional titles: Devan Simunovich G-Net Agency: For Buck Production super: Shelby Hill Director: CACTUS CD: Ryan Honey Media editor: Alik Griffin Psyop Director: EP: Maurie Enochson For Psyop, New York Animation: Buck Producer: Jason Cohon, CD: Eben Mears Psyop Nick Terzich EP: Lucia Grillo Animation: Associate producer: Eric Badros www.psyop.tv Buck Producer: Carol Collins Associate CD: Jeremy Sahlman In a sudden turn to the dark side, www.buck.tv Design director: Jon Saunders VFX super: Doug Wilkinson Designer: Anh Vu the Psyop crew summon their Working with recent National AD: Bradley Munkowitz Storyboard: Ben Chan inner demons and descend into Cancer Institute data showing Animation: Matt Everton, 3D look/development: Marco Iozzi the deepest circles of Hell for the public health education ads with Frantz Vidal Matte painter: release of “Dante’s Inferno” from strong negative messages elicit FX TD: Gene Arvan, Dave Rindner Pete Sickbert-Bennett Electronic Arts. Working from higher response rates, Buck and Artists: Randa Mohtady, Henry Technical directors: Tony Barbieri, the dark and intricate illustrations Denver agency Cactus illustrate Foster, Frances Yeh, Ivan Sokol, Damon Ciarelli, Miguel A. Salek of Wayne Barlowe as reference the dangers of secondhand Doug Appleton, Sebastian Nozon (FX), Lee Wolland (character & and dialing up their Dungeons smoke with a pair of nightmarish Lead 3D: Jens Lindgren rigging) & Dragons geek-dom, the 3D metaphors. Ryan Honey, CD at 3D: John Niehuss, Randa 3D: Helen Choi, Tom Cushwa, team wanted to cram in as Buck: “The chief challenge was Mohtady, Thomas Madreiter, Mike Pete Devlin, Rei Ito, Kitty Lin, much macabre monster action navigating the uncanny divide Colarik, Kyle Raffile, Csaba Letay, Consuelo Macri, Rich Magan, Pat as possible. The result is one of between style and realism. We Ivan Sokol Porter, Heiko Schneck, Psyop’s most dense CG projects created both spots entirely in 3D Lead compositors: Moses Miles Southan, Gooshun Wang, to date. From design to delivery but we wanted them to have a Journey, Patrick Scruggs Russ Wooton the :30 spot took three months palpable, realistic foreboding. We 2D: Ian Kim, James Rydesky, Compositing: Molly Schwartz, to complete with the bulk of ended up creating our own smoke Jon Gorman, Joe Mullen Jason Conradt, Fred Kim animation created in Maya and and particle effects to imbue both Editor: Aristides Zamora particle simulation in 3ds Max and spots with a sense of impending, Audio: Cypher Audio Toolkit Houdini, with final comps in After insidious evil.” Maya, 3ds Max, Houdini, Effects. Toolkit After Effects Maya, After Effects stash 55.06 stash 55.07
Beate Uhse “Child Lock” Nascar On Fox TVC :50 “Underground” TVC :60 Agency: Agency: Fox Sports Design kempertrautmann Directors: Directors: Robert Gottlieb, Martin Hess, Ole Peters MARK SIMMONS, Production: Animation: SEHSUCHT GmbH picture must be recognizable just La Huella Animation: for a very short moment – ideally www.lahuellafx.com SEHSUCHT GmbH hardly recognizable – and just for Madrid VFX house La Huella www.sehsucht.de adults. It should disappear while the adult audience already seems polishes the transparent floor German erotic TV channel Beate to recognize the next, innocent concept they had explored in a Uhse introduces their child lock illustration – so it is a seamless, Metro de Madrid spot to gleaming feature with some delicate help flowing transition. new levels for Fox’s NASCAR from Hamburg’s Sehsucht. Co- coverage. According to the director Ole Peters: “It was very “During the beginning we all tried studio: “Although the main idea angles/moves, progressively “We also created a complex rig for For La Huella important for the agency and the to use the politically right terms For SEHSUCHT GmbH has a lot in common, ‘Metro’ was refining the editing on the Fox side the car suspensions involving rigid 3D/2D supers: Jérôme Debève, client that the final commercial for the genitals. It all felt absurd Directors: Martin Hess, Ole Peters all about slowly contemplating and the 3D layout on our side – by body simulations fine-tuned by Juan Antonio Ruiz be unmistakably addressed to after a few days of work. We didn’t Design: Sehsucht, Martin Hess, existing places in Madrid, while the shoot we had an approved keyframe animation.” 3D: Antonio Lado, David Gonzalez, adults – and as erotic as possible. want to be rough or perverted but the focus in ‘Nascar’ was creating animatic. Gerardo Arpide, Miquel Angel Ole Peters Watch Behind the Scenes on It was pretty tough to find the right, we couldn’t continue with these a whole new racetrack packed Corominas, Vanesa Iglesias, Illustrator: Christian Endres, “From the beginning we knew the the DVD. matching images for the morphing clinical expressions and started to with details, including 30 speeding Martin Contel, Cesar Eiji Mathias Lamken, Marita Löcmele, main problem would be giving a sequence – and very funny. We develop our very own expressions cars, parking lot with barbecues, For Fox Sports Design 2D/post: Régis Barbey, Thiago Simon Jasper Philipp sense of weight to the cars without had to find out how far we could and synonyms for the penis and grandstands full of screaming EVP marketing: Eric Markgraf Dantas, Ricardo Gomez 3D: Heinrich Löwe a visible ground. To soften the push the boundaries regarding the the vagina. It helped during the people – thirty-three HD shots in SVP/CD: Robert Gottlieb Story/textures: Santiago Verdugo, Compositing: Martin Hess, effect of ‘flying cars’ we spent a erotic issues and especially the long hours.” total. CD: Mark Simmons David Escribano, Paco Rodriguez Hans-Christoph Schultheiß long time finding the right balance explicit genital shots – even though Live action director: Production/administration: Agency: kempertrautmann Producer: Stephan Reinsch “First, we created a storyboard between giving the transparent it is a European project, I promise Mark Simmons Marga Obrador, Paloma Fuentes CD: Mathias Lamken Record company/music/sound that allowed the Fox Sports Design track some texture to help with a you there are limits. VP on-air promotions: Bill Battin Music: “World Domination” by Ash AD: Mathias Lamken, design: Thomas Kisser team to create a 2D animatic. That sense of speed without dirtying Editor: Kirk Smith “The transition between the Simon Jasper Philipp gave us a base for the shot list and the picture too much. Then we Toolkit Toolkit Flame: Kevin Prendiville images, its duration, and to find the Kundenberatung: Biljana Retzlik, an approximate duration for each. added layers of smoke and rubber XSI, 3ds Max, Flame, Combustion, Paper, ink, After Effects, Sound design: Mic Brooling, perfect frame to start, was a very Jacqueline Koch We then used basic 3D models bits flying over the ground to add Shake, Apple Color Cinema 4D, Illustrator, Photoshop Jim Mitchell challenging process. The erotic Design: Mathias Lamken to block animation and camera more depth. stash 55.08 stash 55.09
Nickleodeon UK On Route “Kites”, “Fantasy Rebrand” “Windmills”, “Lanterns” Broadcast design Broadcast design X 3 :20 Director: After matching the mo-co and Directors: Akin Akinsiku animation camera moves, the Rob Machin, Ben Marshall Animation/VFX: remaining animation could be Production: Mainframe finessed before the live-action E&P www.mainframe.co.uk footage was integrated alongside bedding-in passes like shadows Animation/VFX: After 18 months designing and and reflections. Much time was Golden Square developing an extensive rebrand invested in creating cartoon-like www.goldensq.com for Nickelodeon, London’s shading to keep the animation in Pairing up with Golden Square’s Mainframe finally saw their efforts line with the original illustration 3D artist Sean Elliot, London go to air in the UK in early March work by Will Barras.” design house E&P (formerly 2009 followed by the international English & Pocket) created these rollout. The brief was to unify For Nickleodeon UK calming IDs for Thai transportation reality and fantasy by blending CD: Peter Drake channel On Route to soothe live action and 3D as a way of Director: Akin Akinsiku passengers traveling through the reinterpreting real situations in a AD: Akin Akinsiku notoriously frustrating traffic jams child’s imagination. of Bangkok. Created in Maya with For Mainframe the final look embellished in Flame. Once scenery and camera moves Producer: Adam Jenns were constructed and built into the Animation: Marcus Moresby, For E&P scenes, the animation was taken Carl Fairweather, Arvid Nicklasson, Designer: Ben Marshall Producer: Rob Machin to Clapham Road Studios where Jimmy Johansson, Mickael Abensur, Jerone For Golden Square two days were spent shooting Producer: Gil James Dernoncourt, Call Allman motion controlled live action. 3D: Sean Elliott Adam Jenns, Mainframe producer: For Blue Post Production Flame: Fasa Oyibo “Difference keys were used for the Audio: Ian Chatham For Golden Square bulk of the work, but on trickier Music: Blasé Music shots motion control allowed 3D artist: Sean Elliot filming both with and without Toolkit Toolkit actors and so greatly eased the Maya, After Effects Maya, Flame process of rotoscoping. The motion control camera data was also used to generate accurate setups by importing it into Maya. stash 55.10 stash 55.11
AXN Film Festival 2008 FITC Amsterdam Broadcast design Event trailer :60
Client: Director: For Addikt Spe Networks Latin Szann Concept: Szann, Bernie van Vlijmen America Production: Lead 3D: Jurriaan Hos Directors: ADDIKT Modeling: Koen van Ovoorde Marcos Torres, Animation: 3D: Stan Smulders Ezequiel Rormoser ADDIKT Edit: Szann Animation: www.addikt.nl Typography: Bernie van Vlijmen Superestudio.tv Amsterdam studio Addikt on their Compositing: Szann www.superestudio.tv trailer for the 2009 FITC event Music: Davy Maengkom Martina Reboledo at Superestudio in their hometown: “The brief Toolkit: in Buenos Aires on the company’s was to use some elements from XSI, After Effects branding campaign for the AXN the print artwork but work it any Film Festival: “We wanted to create way you like. Our pick: bike, cow a ‘magic’ machine to showcase and whore. As FITC is a mixer the cinematography production for technical and creative minds, process as an imaginary vision we chose to mix the elements that transforms objects related up to make new and wonderful to movies into films themselves. experiments in what goes where. The biggest challenge was to talk Carefully avoiding the tourist about cinema without falling down trap of tulips and windmills, in the typical places and develop a capturing the underground feel graphics package that was easily of Amsterdam. Musical theme adaptable by the client and their For Superestudio.Tv Pablo Molina, Cristian Fieiras, General assistant: features layers of cow moos, editors in different countries and Leandro Giorni, Christian Rey Willis Martina Reboledo church bells and traditional organ Directors: Marcos Torres, languages.” 2D: Juan Pablo Christman, grinders.” Ezequiel Rormoser For TOC TOC studio Lionel Orellano For AXN Latin America EP: Mariano De Mendonca Sound/music design: Compositing: Iván Asnicar, AD: Sergio Moreno Producer: Mariano De Mendonca Juan Cruz Recalde. Sebastián Gutnisky, Diseño Prod coordinator: Valeria Gigli Gráfico, Santiago Lesende, Toolkit AD: Sergio Moreno Lionel Orellano After Effects, 3ds Max, Illustrator, 3D modeling/animators: Illustration: Mariano Castelli Final Cut, Photoshop Mauro Petrelli, Sebastián Gutnisky, Web design: Mauro Larsson stash 55.12 stash 55.13
Röyksopp “Happy Up Here” Bloc Party Music video 2:41 “One Month Off” Music video 3:43 Record label: Record label: EMI France Witchita Director: Director: Reuben Sutherland D.A.D.D.Y. Production: Production: Joyrider Red Jam Productions VFX: Animation/VFX: after the war. The themes of this Joyrider cityscapes with a torrent of For Joyrider D.A.D.D.Y. song – the loss of something www.joyriderfilms.com realistic CG elements. “Happy Up Director: Reuben Sutherland www.teamdaddy.com simple, perhaps a sense of Reuben Sutherland makes his Here” is the first official promo Producer: Spencer Friend When the band members of Bloc innocence within a relationship fourth appearance in Stash with for the upcoming release of DOP: Reuben Sutherland Party proved to be unavailable to – strangely brought these back this fusion of all things close to Röyksopp’s third studio album Editor: Reuben Sutherland shoot their “One Month Off” video, to mind. We acquired a number titled Junior. of the films then re-edited and the heart of any child of the 1980s Toolkit Dublin’s D.A.D.D.Y. turned to the animated over them adding some – Space Invaders, Transformers, For EMI France After Effects, Photoshop, Premiere legendary grandaddy of stop ‘reality’, so they lost that innocent Ghostbusters. The video melds Commissioner: John Moule motion to solve their production a flow of background live action dilemma. “We are big fans of feeling and meaning they once master animator Ray Harryhausen, had. We have no idea what Mr. and a while back found a series Harryhausen will think if he sees of fairy tales he animated in the it, but some of the new cartoon 1940s using film stock he acquired violence makes parts of the video cheaply from the American Army darkly funny, which he might like.” Using Premiere to edit and 3ds Max and After Effects to animate and composite, the video was wrapped in just under two sleepless weeks. For Witchita Commissioner: Jill Kaplan Toolkit Premiere, 3ds Max, After Effects Overdose on motion. In a good way. STASH SIXPACK 8 DELIVERS 9+ HOURS OF INSPIRATION
THIS LIMITED EDITION SIX-DISK SET INCLUDES: + BONUS FILMS: • The complete disks from issues 43-48 of • STUDENT FILM MINI-FEST 2 STASH DVD MAGAZINE • ONEDOTZERO/MTV “BLOOM” WINNERS X 10 • Work from over 152 international studios • ADOBE PHOTOSHOP “SEE WHAT’S POSSIBLE” • Over 180 outstanding animation, VFX and motion graphics CHALLENGE WINNERS X 11 projects including: • STUDENT FILM MINI-FEST 3 - TV and cinema commercials • 2008 CHANNEL FREDERATOR AWARD WINNERS - music videos • STUDENT FILM MINI-FEST 4 - broadcast design - virals + 40 BONUS MP3 tracks from these labels: - branded content • POLYVINYL RECORDS - game cinematics • SUICIDE SQUEEZE RECORDS - short films • FLAMESHOVEL RECORDS • FAR EAST RECORDING + Behind the scenes extras • GHOSTLY RECORDS
+ Hi-res PDF files of the • KEMADO RECORDS 40-page booklets for all six disks GRAB YOURS AT www.stashmedia.tv/collections stash 55.14 stash 55.15
“Special Guest: “If Trees Could Speak” The Journey” Short film 1:49 Short film 1:20 Director: Directors: Jin Hien Lau Vinicius Costa, Special Guest Production: Sydney College Production: of the Arts Special Guest Animation: Animation: Jin Hien Lau Animatorio www.plainoffensive.blogspot.com www.animatorio.com Sydney College of the Arts student 1st Ave Machine’s Special Guest Jin Hien Lau hits both light and division likes to introduce their new dark tones with sincerity and directors by sponsoring a personal humility in this highly personal short film. Case in point: this multi-media film. According to Lau, “The main delight from Brazil native Vinicius creative challenges were to generate Costa. “I was visiting New York a rhythm and energy throughout the and saw an interesting book on film despite the fact that the movie perfect packing. It occurred to could be categorized as a slideshow me just looking at someone’s of sorts. I approached the project luggage could tell you a lot about with a straight-on attitude that made the owner’s personality. I started me finish it in three days without thinking of Special Guest as a much planning. Because it was a suitcase full of unique techniques, very personal project I decided to options and creative styles. Back let my mind and memory take me in Brazil, I enlisted the help of my wherever it pleased and I created colleagues at Studio Animatorio the images and animation viscerally. is so packed with details that it For Animatorio to put all of this together. It was a It is really weird to think that a lot needs repeated viewings. Since Compositors: Vanderlei Santana, big challenge because we used more people are getting to know me it begins and ends with the same Rafael Antonelli so many techniques and styles very personally through this film. I shot, I liked the feeling of it turning Rotoscope: Vanderlei Santana, to create a very unusual scene. feel like I owe a lot of strangers a pint into an infinite loop, a symbol of Rafael Antonelli, Raiza Costa I wanted all the elements to be because I missed their last birthday.” Special Guest’s renewable talent.” Audio: Omni Audium realistic in their interactions with Toolkit each other, but I also wanted a Watch Behind the Scenes on Flash playful feel. In the end, the film the DVD. stash 52.16 stash 55.17
“Scintillation” Mistabishi “Printer Jam” Short film 2:52 Music video 4:11
Director: used a lot of planning and post Xavier Chassaing Record label: Hospital Records render options to gain the effects Animation/VFX: I wanted. I started by modeling, Xavier Chassaing Director: Kenny Frankland texturing and lighting the complete www.vimeo.com/chassaingxavier room then baked all the textures “Scintillation” is an extraordinary Animation: so the soft shadows became and beautiful example of what can TinSpider Studio part of the original texture. This happen when an artist stows away www.tinspider.com meant I could render the room as in his apartment for eight months Working through Radar Music a background plate without using with nothing but his computer, a Videos, UK director Kenny any lights. It took a while to set up, digital video projector, a DSLR and Frankland used his microbial but reduced my render times his imagination. French director budget to extend the most from four minutes a frame Xavier Chassaing mounted his still mundane of technical glitches into to one second.” camera on a homemade motion a riveting nightmare. With only five Toolkit control rig capturing images weeks for production, Frankland 3ds Max, Photoshop, After Effects, as it moved 1mm per second. says the biggest challenge was Premiere With multiple passes at varying rendering. “To get past this I exposures, the final piece uses 35,000 digital images. Chassaing then rendered 3D particle systems onto 3D models of the real life objects that would later act as a canvas for the projected visuals. Chassaing adds, “The shooting is 30 times slower than reality, resulting in having to gather as much material as for a feature film.” Music: Fedaden Color correction: Mathieu Caulet Toolkit After Effects, 3ds Max, Flame stash 52.18 stash 52.19
Kid Cudi “Day’n’nite” Kanye West “Welcome To Music video 3:09 The Heartbreak” Music video 4:31 Director: Record label: SoMe Island/Def Jam Production: Director: El Niño Nabil Animation: Production: Mathematic Partizan www.mathematic.tv Animation/VFX: Starting with the artwork of Partizan designer/director SoMe (the Ghosttown Media talent behind the T-shirts in the www.partizan.us Justice D.A.N.C.E. video on www.ghosttownmedia.com camera, the footage entered a Stash 34), animators at Paris Glamorizing the video studio Mathematic worked over five-stage process of editing, data- compression glitch known moshing, VFX work, compression the live action footage in Flash as “data-moshing”, fashion to shower a little roto-love on alterations, frame tweaks and After photographer and music video Effects to create the final piece. Kanye West protégé Kid Cudi. director Nabil Elderkin elevates Mourad Belkeddar, producer at visual distortion to visceral art in For Partizan El Niño: “Kanye West just had a For El Niño this Kanye West music promo. Director: Nabil conversation with SoMe about Producer: Mourad Belkeddar Nabil: “I wanted to use the EP: Jeff Pantaleo Kid Cudi, and then SoMe came DOP: Arnaud Potier technique in more of a strategic Producer: Kathleen Heffernan, up with this concept. So there Editor: Olivier Gajan way, using calculated moshes, Kelley Gould was actually no brief, just a close For Mathematic colors and textures to compliment DP: Josh Reis confidence in everyone. All the Post-production super: the effect. Different parts of the Production designer: Eric Archer art is by SoMe who followed the Guillaume Larose song represented different feelings Stylist: Theodore Gilliam whole animation process and Head of animation: Yue Wu – I wanted to come up with a Editor/compression FX: added drawings when necessary.” Flame/After Effects: visual representation of the flow Ryan Bartley Watch Behind the Scenes on Clement Germain, and textures that I feel are very Visual effects/design: the DVD. Arnaud Ecobichon and Vince important in this track.” Jeff Lichtfuss, Brandon Parvini 3D: Clement Having shot Kanye and Kid Cudi Toolkit Toolkit entirely on greenscreen in super After Effects Flame, After Effects, Flash slow motion with the Phantom HD stash 55.20 stretched over a period of almost “After all this was done we set Civilization (MEGAPLEX), three months. Once the material out to redo the entire piece in 2008 was imported into Flame we would 3d space! We took the six main Video installation 3:21 make adjustments and receive stations on the canvas (Hell, lower more photo-collages which we purgatory, middle purgatory, upper Client: polished to make the ‘video mural’ purgatory, heaven and upper The Standard Hotel, look as seamless as possible. heaven/lower hell), rendered it New York Marco and our team experimented out as static 2.5 minute plates Director: in the Flame and played with and then projected those onto Marco Brambilla the clips for about six weeks, geometry modeled to match the arranging and rearranging them stations’ layout. We then had to Production: on the 2D canvas over and over to go in and render the stations with Crush find the right compositions. Most and without most of their elements Animation/VFX: of this work was done at night so we could achieve the proper Crush because we couldn’t afford to do it parallax. Essentially it was like www.crushinc.com during prime time hours. recreating the entire project over again. Once the 3D version was Guests at The Standard Hotel “Not only were we playing with done, we slept.” in New York can now ride in where on this huge canvas comfort between heaven and hell the clips should go, we had to Watch Behind the Scenes on courtesy of Marco Brambilla’s HD consider the looping aspect the DVD. to the movement of the elevator as the game environment all day. staff began the process of video installation in the elevators. of this project. We wanted the best as we could. Unfortunately, once we started to researching and collecting a What those guests could never canvas to loop once it got to collage the clips together in the vast amount of footage sampled guess is the sheer amount of toil “The second challenge was the top of heaven and come For The Standard Hotel Flame we knew the game engine from both mainstream and more and trouble it took to create that creative. What are we seeing right back around to hell again. idea wouldn’t fly. We approximated obscure film sources. Marco then Editor/research assistant: journey. through this ‘elevator window’? All Once the canvas looped, each we would have 250 looped HD assembled still grabs from each Beau Dickson we really knew at the beginning of the 500 clips had to be looped Crush senior artist Sean clips in the environment and our piece of sampled footage into Assistant: Swapna Tamhane was the canvas would be very tall individually as well. Along with Cochrane: “The project had two Flame could barely handle it (in the photomontages, which we would and skinny due to the physics of color correction, each clip For The Ebeling Group/ huge challenges. First we needed end it was closer to 500 looping review weekly while Marco’s editor elevator travel and we wanted to required careful vari-speeding and Imported Artists to figure out how to create content clips). We compromised by locking cut together a linear chronology go from a hellish landscape to a stabilization to allow all the pieces Director: Marco Brambilla that could move with the elevator. ourselves into the idea we would of what the components in the heavenly one. to fit together. We ping-ponged The idea was this, when you go create a huge vertical canvas that journey from hell to heaven may For Crush, Toronto most of the clips so as to avoid any up in the elevator the content goes “We began by exploring the idea we would scan up and down on look like. Sr artist: Sean Cochrane cutting on the loop points. With all down and when you go down it of using a game engine to house once the elevator was in motion. Representation/images: “The logistical task of collecting the clips treated and placed into goes up. Not unlike a ride film, this the project. Seemed easy: map The final piece was approximately Christopher Grimes Gallery and cataloguing all the clips the canvas, we color corrected project was designed to be synced footage onto planes in space, 1,920 x 7,500 pixels. involved a great deal of the entire thing as one big piece of to the moving environment so attach a PC to the elevator and “In parallel to the technical coordination between our wallpaper. wanted to synchronize the footage we can move up and down in research, Marco and his studio producer and Marco’s studio and stash 55.21 stash 55.22
Alzheimer Internacional Citroën “Minds” TVC :42 TVC/viral :30 Client: Agency: Fundación Pasqual H Maragall Director: Agency: Jeremy Clapin Externa Comunicación Animation: Director: Mr. Hyde Nico Casavecchia www.mrhyde.fr Production: Working from a completed boolab voiceover and a simple agency- Animation: supplied animatic of a constantly boolab folding page, it was up to Mr. Hyde www.boolab.tv director Jeremy Clapin to fill in the many narrative and stylistic holes A spot run on Spanish television in this CG commercial launching to raise awareness and funding for the new Citroën logo and updated Alzheimer’s. Boolab director Nico tagline “Créative Technologie”. Casavecchia: “Rory Lambert, the Deciding on simplified, un-textured Externa creative director, brought graphic elements and restricting us the idea of a brain scanner the palette to Citroën’s signature showing activity in sync with a the emotional sounds combined final reactive system in Maya, a Post director: Joan Janer red, black and white, Clapin found do the trick of expressing human combination of cloth simulation 3D: Jaime Ramos soundtrack and slowly fading to the most challenging part of the For H experience and hit the dramatic and particles.” Schedule: 30 days Music and sound effects: illustrate the sickness. production involved “properly CD/copy: Gilbert Scher target without being demagogic. from briefing to delivery. Alex Candela “I suggested an abstract mixing a graphic universe made AD: Didier Richarth Voiceovers: Pasqual Maragall, representation of the human “The main technical challenge was For Externa Comunicación of symbols with realistic visual TV producers : Agathe Naffah, Luis Mediavilla, Robert Paterson memories. I wanted to avoid a the reactive system; I wanted to CD: Rory Lambert effects”. Schedule: three weeks. Ingrid Vasseur Sound design: Idea Sonora use as little keyframe animation Strategy: Angela Bardaji melodramatic approach and yet For Mr. Hyde connect emotionally with the as possible. I did the initial Toolkit For boolab Producer: Hervé Lopez audience, so I kept the idea of an research myself with Cinema Cinema 4D, Maya, After Effects Director: Nico Casavecchia Director: Jeremy Clapin emotional soundtrack. These two 4D, with particle systems and EP: Coke Ferreiro Watch Behind the Scenes on Sound: PS layers of perception, the abstract geometry connected to an audio Creative super: Lucas Elliot the DVD bubbles dancing ethereally and input. Jaime Ramos crafted the Toolkit Producer: Diana Asenjo 3ds Max stash 55.23 stash 55.24
Lexus RX 2009 “Hybrid”, NASCAR Nationwide “VDIM” “PRESSURE” Virals x 2 :30 TVC :30 Agency: Agency: Team One For Logan The Martin Agency Director: Alexei Tylevich Director: Producer: Frederic Liebert Director: Alexei Tylevich EP: Kevin Shapiro Superfad Animation: Design: Kenneth Robin, Animation/VFX: Logan Alexei Tylevich Superfad Mørk&Lys Lead compositors: www.superfad.com www.logan.tv Vincent Wauters, Benoit Vincent, Following on their groundbreaking For Superfad www.morkandlys.com Julien Forest, Julien Brami Winter X Games collaborations EP: Rob Sanborn, Kevin Batten Lead compositor/TD: Two of eight full-CG online car (Stash 35 and 53), The Martin Sr producer: Chris Volckmann Stephan Kosinski spots completed in just three Agency and Superfad move Producer: Danielle Hazan Compositor/modeler: months by director Alexei Tylevich NASCAR into dramatic stylized CD: Will Hyde Brinton Jaecks and his team at Logan. Tylevich territory while carefully maintaining ADs: David Viau, Eric Edwards, Compositor: Brendan Smith admits the biggest challenge authenticity – knowing fans would Will Johnson Animators: Sei Sato, Cody Smith, “was to achieve a perfect balance not respond if the spot strayed Designer/animator: Yvain Gnarbo between the slightly stylized too far from the truth of the William Campbell Modeler/texturer: Terry Wang environments, the photo-real car, sport. Superfad AD Will Johnson: VFX super: Dade Orgeron Modeler: Norris Houk and the graphic highlights of the “NASCAR is so colorful, so it was TD: Yates Holley Texturer/shader: cars’ various features”. To help interesting to do away with hue Animators/compositors: Rumiko Yokoyama solve the work overload, “The and focus on the elements and Justin Pae, Paulo Diaz, David Particle animator: Matt Rotman environments are reduced and line.” Holm, Jance Allen, Sandy Chang essential in their design, providing 2D: Kevin Stein, James Wang 3D: Tom Oakerson, Bryan Cox, a hyper-real setting.” Production coordinator: For The Martin Agency Tim Kadowaki, Ian Mankowski, Cedric Williams CD: Cliff Sorah David Clayton For Team One Copy: Mark Billows For Mørk&Lys Simulations: Phiphat Pinyosophon CCO: Chris Graves AD: Randall Hooker Editor: Volkert Besseling Editor: Josh Bodnar Group CDs: Gavin Lester, Broadcast EP: John McAdorey Jon Pearce Flame: Brandon Sanders Compositor: Miles Kinghorn, Assistant producer: Shawn Berry, Don Kim CD: Troy Kopper For HUM Samantha Woolard AD: Serge Machial Composer: Alex Kemp Toolkit Copy: Andrew Smart Maya, After Effects Producer: Leah Bohl Toolkit EP: Jennifer Weinberg Maya, Nuke, Flame stash 55.25 stash 55.26 Getting the look just right for each Nike “Jump Rope”, film was a painstaking process. T. Rowe Price “Ink” “Punching Bag”, “Meteor” Each frame in each spot, from the TVC :30 everything together and refine the Virals X 3 :30 live action to the transformations elements. A lot of the magic has to the animation and then back Agency: been done in compositing, ending Agency: to live action, was carefully JWT New York with the final color correction.” AKQA choreographed and planned out.” Director: Director: For JWT New York For AKQA Rohitash Rao Psyop Co-president/CCO: Ty Montague CD: Neil Robinson Production: Ex CD: Andrew Clarke Production: ACD: Stephen Clements Psyop CDs: Izzy Levine, Nate Goodson Curious Pictures Copy: Ellen Karas AD: Orit Ben-Shitrit AD: Jimmy Soat, Rohitash Rao Animation: Copy: Giovanni Maletti Animation: Psyop Curious Pictures HOP: Nancy Cardillo EP: Caroline Coleman Project manager: Rakhee Gupta www.psyop.tv Music producer: Humouring the Fates Zoink Animation Former Psyop CD Mate Steinforth: Theresa Notartomaso For Curious Pictures www.curiouspictures.com “Starting out with an exhaustive Director: Rohitash Rao www.fates.com design process, we narrowed For Psyop AD: Rohitash Rao www.zoinkanimation.se Live action DP: Jeff Benditti down the style to the perfect CD: Mate Steinforth Three in a series of virals running Live action producer: balance between illustration and ECD: Marie Hyon on Nike Women websites Shannon Lords photo-real shading. The color EP: Lucia Grillo throughout the Asia Pacific. Mary Post super: Paul Schneider palette starts in a desaturated Producer: Eve Strickman Knox, EP at Curious Pictures in EP: Mary Knox blue-green, which emphasizes Design: Mate Steinforth NY: “The biggest challenge was HOP: John Cline the inky feeling, then throughout TDs: Jake Slutsky, Dave Barosin to make each film different from the journey, the color gets CGI: Jonah Friedman, Andy Hara, For Zoink Animation the others while maintaining a progressively warmer until we end Boris Ustev, Tom Cushwa, Lead animator: Klaus Lyngeled consistent look and feel. The on a sun-flooded scene. The most Soo Hee Han, Rie Ito, Lee Wolland, athletes needed to look like For Humouring The Fates challenging aspect was to find Jae Ham, Jimmy Gass superheroes, yet still be feminine Lead animator: Jesse Norton the right balance in the graphical Compositing: Colin Hess, and beautiful. We wanted to style and to make sure the pace Manu Galot, Jason Conradt, For Cake Editorial capture a sense of the heroic flowed nicely from one scene to Yussef Cole, Matt Hanson Editor: Bob Mori the next. It was crucial to plan here—like how they feel when out the camera moves carefully Music/sound design: they’re working out. So there Toolkit because the connections between Q Department was lots of experimentation with After Effects, Maya different approaches, lots of the elements play a big role. We Mix: Sound Lounge used Softimage XSI for all the 3D mood boards and tests. I was and went to After Effects to bring Toolkit even shooting tests in my hotel XSI, After Effects room while we were on the shoot. stash 55.27 stash 55.28
Mirta Multicolor “Gary” Self promotion/music video :38 Short film 7:10
Director: Directors: Blirp Clément Soulmagnon, Production: Yann Benedi, Blirp Sebastien Eballard, Quentin Chaillet Animation: Blirp Production: www.blirpstudio.tv Supinfocom Blirp is an Argentina-based design Animation: and animation studio kicking out Clément Soulmagnon, a broad range of exuberant and Yann Benedi, colorful work. Creative director Sebastien Eballard, Andres De Mula says this in-house Quentin Chaillet clip – screened at the New York Gary-lefilm.com and Mar Del Plata Pictoplasma www.monsieurshine.blogspot.com events in 2008 – “began from Over the final six months of the music. Then a character their education at Supinfocom was designed: a strange one in Valenciennes, France, four with agile movements. Once all animation students wanted to the animations were separately tell the simple story of a young completed, the material was boy in love with an older girl and, edited rhythmically to the song. like most coming of age tales, it The visuals were created with a has more to do with Father Freud combination of 3ds Max, After than Mother Goose. Co-director Effects, and Premiere. The audio Clément Soulmagnon: “The film is was created and edited using a metaphor of adolescence, the Reason and Cubase SX.” first strong feelings, the first physic without being ‘too sweet’.” The Animation: Clément Soulmagnon, For Digital Touch For Blirp desire. The most challenging directors’ choice to render the 3D Yann Benedi, Sebastien Eballard, Sound design: Steve Mahie, CD: Andres De Mula aspect of the production was animation with a 2D look was “to Quentin Chaillet Benjamin Mechali to find a creative angle that was ensure this graphic style was not Music: Guillaume Poyet Toolkit Toolkit original and ‘acceptable’ without too cold or lacked spontaneity.” Mixer: Lionel Akchouch Maya, Photoshop, Fusion 3ds Max, After Effects, Premiere rendering the story too infantile Trumpeter: Florent Cardon and ensure the film was poetic stash 55 BONUS FILMS
PSST!3 COLLECTION ONE (FILMS 1-6 OF 17)
The first six of 17 brand new films from the latest version of Bran Dougherty-Johnson’s adventure in collaborative motion art. PSST!3 counts over 175 participants from every corner of the planet including New York, Los Angeles, Portland, Seattle, Atlanta, Nashville, London, Glasgow, Paris, Vilnius, Amsterdam, Berlin, Dublin, and Copenhagen. Canvas Disquietude Chocolate Hypnosis Alter Ego Dark Destiny Loaders Earvaders Scarlatta Le Voyage Boto Words Lucid King of Empty Vestige Regret The End Morituri te Salutant Short film 3:22 Short film 5:03 Taking the inspiration for its Short film 2:45 Short film 2:32 Short film 3:08 Short film 3:20 Directors: Brien Holman and Directors: Nessim Higson, process from the Surrealist Directors: Joost Korngold, Directors: Matt Tragesser, Directors: Takeo Hatai, Bryan Lee, Directors: Joey Garfield, Joel Jayson Whitmore, Brien Sensebe, John Saunders, Josh Harvey, technique of Exquisite Corpse and Florian Witzel, Anh Vu and Radical Friend, Jonathan Cannon Thomas Schmid Trussell, Niko Stumpo Felipe Posada, Tatiana Arocha Helen Hyung Choi, Tony Barbieri the children’s game of Telephone, Kim Dulaney, Brian Gossett, the films are each made in three David Lewandowski, Tom Koh parts, with different teams working consecutively on the beginning, middle and end. Stash is pleased to present all 17 of the PSST!3 films spread over three issues.