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New Vegas™ Pro 9, including Vegas™ Pro 9, DVD Architect™ Pro 5, and Dolby® Digital AC-3 encoding software, is on the air! Award-winning Vegas Pro now offers a wide range of New Motion+New Sound+New Code broadcast functionalities, making it one of the most powerful, ef cient, and cost-effective nonlinear editors available. Designed for broadcast professionals, new 9 Vegas Pro 9 includes native XDCAM™ MXF and 0 motion graphics festival EX MP4 support; smart render for HDV and XDCAM™ MXF; capture compress to MXF; native le support for the RED ONE™ camera; and a www.MGFest.com/09/Atlanta/ scalable 4K work ow—all valuable new functionalities for in-the- eld production and broadcasting. Vegas Pro 9 will change the way you produce and deliver content.

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*Vegas Pro Production Assistant sold separately. November 19-22

VP9_AD_OneSuite_Stash.indd 1 5/13/09 4:01 PM Go here: www.stashmedia.tv/promo Enter this code: bk59pg3 Save this: $$$ Seriously. Do it NOW because the economy blows and you need to buy beer and feed the cat and so saving tons of cash on Stash stuff makes so much sense. stash Stash 2.0 is officially underway. DVD MAGAZINE 59 And what, you rightfully ask, is Stash 2.0? At press time we are in the final stages of consolidating our administration, customer service, Stash Media Inc. bookkeeping and publishing operations into the new Toronto office. Editor: Stephen Price Publisher: Greg robins We expect the move will have all those empowering effects touted by Managing editor: HEATHER GRIEVE management textbooks: increased efficiency, improved communication Associate publisher: MARILEE BOITSON and a more cohesive and responsive workforce. Associate editor: ABBEY KERR Account manager: APRIL HARVEY And yes, there are shiny new members in our workforce: Pauline Business development: Thompson will work her magic on new business development and Pauline Thompson Stefanie Polsinelli will take over the reigns of administration. We will also Administration: be adding interns soon, so if you crave the glamor and fast life of media STEFANIE POLSINELLI publishing but have no immediate need for cash, now is your chance. Preview/montage editor: HEATHER GRIEVE Unfortunately, the opening of the new Toronto location also means the Preview opening animation: TANTRUM multi-talented vault of knowledge known as Marilee Boitson will be Technical guidance: IAN HASKIN ramping down her duties as associate publisher. Marilee harbors more Cover image: BLUR data and insights about this company than the rest of us put together. We wouldn’t have made it to the eve of our fifth anniversary without her. WWW.STASHMEDIA.TV Thanks MB. ISSN 1712-5928

Stash DVD Magazine is published 12 times Stephen Price per year by Stash Media Inc. All rights reserved and contents copyright Stash Media Editor Inc. No part of this booklet nor the Stash New York, July 2009 DVD may be copied without express written permission from the publisher. [email protected]

Subscriptions: www.stashmedia.tv Submissions: www.stashmedia.tv/submit PS: Check out our brand new SHORT FILMS 1 collection – 2.5 hours of Contact: Stash Media Inc. sheer fun and inspired weirdness: www.stashmedia.tv/collections/SF1. 35 McCaul Street, 305A Toronto, ON M5T 1V7 Canada Curated in New York. Printed in Canada. stash 59.01

Audi “Economy Drive” TVC :60

Agency: For Stink BBH Director: NE-O Director: DP: Joost Van Nelder NE-O Producer: Juliet Naylor Production: For Marshall Street Stink Editor: Tim Thornton-Allan VFX: For The Mill The Mill Producers: Harry Jones, www.the-mill.com Darren O’Kelly Telecine: Adam Scott The Mill started perfecting the Shoot supers: Tom Bussell, look of these light bulbs by using Jay Bandlish a Spheron camera to take 360 Lead 2D: Mike Outlaw degree maps of each setup Flame: Simon Holden, allowing the geometry and lighting Jay Bandlish of the locations to be recreated Flame assist: Andy Bate, with maximum precision in 3D. Gareth Parr, Paul Downs, A team of five 3D artists built, Ilia Mokhtareizadeh, textured and animated the seven Zoe Cassey-Hayes kinds of bulbs then split the Shake: Peter Hodsman, Ben Perrot renders into isolated elements so Smoke: James Pratt, John the final look of the bulbs could Thornton, Tim Robbins, Huss be achieved in Shake. The Shake Lead 3D: Tom Bussell and Flame team worked on over 3D: Eva Kuhelmann, Aidan 30 shots, carefully compositing Gibbons, Alex Hammond, the light bulbs, doing cleanup and Ed Shires, Sergio Xisto adding the glows. Art department: Ian Wharton, For BBH Jimmy Kiddell Creatives: Adi Birkinshaw, Paul Yull Toolkit Producer: Olly Chapman Shake, XSI, Flame, Baselight stash 59.02

Nike “Exploit Yourself” TVC :50 (spec)

Director: Carl Erik Rinsch Animation: Big Lazy Robot Visual Effects www.biglazyrobot.com No one will blame you if you thought this was another CG character comped into live action plates. But every pixel of this Nike spec spot from young Barcelona VFX studio Big Lazy Robot is built with 3ds Max and rendered with V-Ray. JJ Palomo, Big Lazy Robot CD: “Our wish was to show off the nerve and spark and freshness of the city with the strength and power of modern For Big Lazy Robot Visual Effects sport competition, all in a fully Director: Carl Erik Rinsch 3D environment. Exploit Yourself Models/cloth: Carlos Del Olmo talks about pushing your limits Setup/animation: David Cordero just for the sake of it. It had to be Environment/render/lighting: striking new and spirited, and yet Miguel Angel Bellot dramatically credible.” Schedule: Models: Hugo Bermudez four months. Animation: Rafael Cano Supervisor: JJ Palomo Watch Behind the Scenes on Music: The Prodigy “The Big Gun the DVD. Down” Toolkit 3ds Max, V-Ray, Combustion, Shake stash 59.03

Evian “Skating Babies” TVC :60

Agency: BETC Euro RSCG Director: Michael Gracey Production: Partizan Midi Minuit Animation/VFX: MPC www.moving-picture.com Roller skating babies. Nice idea but how do you make it convincing? Early tests revealed the optimum method of getting the toddlers to act like adults yet keep their own personalities was to to extend the environment and For MPC 2D VFX: Dan Adams, Chrys model and choreograph fully CG motion capture used to record the Producer: Paul Branch, Vittorio Aldred, Mark Beardall, Mike babies then replace their heads background dancers’ moves. Giannini, Jonathan Davies Brazelton, Kelly Bruce, Stuart with live action. To that end, the VFX supers: Dean Robinson, Bullen, Hayley Collins, Miodrag Watch Behind the Scenes on team shot 134 babies, selected Ludo Fealy Colombo, Ludo Fealy, Olivier the DVD. the most expressive takes and 3D VFX: James Bailey, Anthony Jezequel, Vaibhav Marathe, painstakingly matched them to the For BETC Euro RSCG Bloor, Ross Denner, Ali Dixon, Alasdair McNeill, Mikael 3D babies used in the animatic. Producer: Fabrice Brovelli Daniel Elliott, Ahmed Gharraph, Pettersson, Yourick Van Impe Creatives: Agnes Cavard, Andreas Graichen, Lewis Telecine: Paul Harrison, Jean- Creating the CG kids in full Valerie Chidlovsky Guarniere, Mark Harrison, Robert Clement Soret ensured the live action heads DP: Alex Barber, Greg Fraser Hesketh, Jake Mengers, Alexandre Music: The Sugar Hill Gang would follow the shoulder Millet, Jorge Montiel, Jordi Onate, “Rapper’s Delight” movement naturally. This also For Partizan Midi Minuit Vicky Osborn, Emanuele Pavarotti, helped during the lighting stage, EP: Jaques Etienne Stein For Final Cut Simon Payne, Dean Robinson, as the correct head shadows were Post super: Rahel Makonnen Editor: Ben Harrex Wayne Simmons, Charlotte Tyson, projected automatically. Other UK Producer: Isabella Parish Grant Walker VFX work included matte painting stash 59.04

AMF “The Caterpillar” TVC :50 For Forsman & Bodenfors PM: Leif Sorte AD: John Bergdahl Agency: Copy: Jacob Nelson Forsman & Bodenfors Producer: Magnus Kennhed Director: PM: Linda Hymèr Filip Engström For Camp David Production: Director: Filip Engström Camp David DP: Linus Sandgren Animation/VFX: EP: Peter Kydd The Mill Producer: Anna Adamson www.the-mill.com For The Mill Exquisite model details, masterful Producer: Asher Edwards renders and subtle yet expressive CG supervisor: Robert Sethi animation of seven CG species Shoot super: John Leonti from The Mill’s LA studio mark this CG: Jamie O ‘Hara, Steve Beck, :50 for Swedish pension company John Leonti, Chris Cushley, AMF. Project CG super Robert Matt Longwell Sethi: “The benefit of a small Lead compositor: Becky Porter team is being able to work closely Compositing: Zach Lo, with the director and contribute Tara DeMarco, Giles Cheetham, creatively – which is always fun Chris Knight, Phil Crowe and inspiring. Having an Avid Telecine: Damien Van Der within the project room meant Cruyssen Filip could tweak the edit on a For General Editorial daily basis so working out the CG Editor: Noah Herzog animation was a truly interactive and collaborative experience.” The melding of the insects into the Watch Behind the Scenes on macro photography environments the DVD. was enhanced in compositing with the addition of bloomed highlights and chromatic splits. Animation schedule: three weeks. stash 59.05

Shell “Performance: V Power”, “Fuel Economy” TVCs :30 x 2 Agency: JWT London Director: Alan Bibby Production: Stardust Studios Animation/VFX: Stardust Studios www.stardust.tv Stardust’s New York-based CD Alan Bibby on this pair of spots touting the benefits of Shell’s new Fuel Save seen across Europe and Asia: “From the very beginning the client and agency wanted the vignettes to look as though they were created by fluid, while also wanting viewers to see and feel the real emotions of our talent in their we knew we were going to treat very helpful in capturing our car-to- situations. the footage heavily, the client car footage. Although we experimented with wanted the details of the real world “Artists in our NYC studio then 2D and 3D CG solutions, particles, to come through. tracked the selected live-action CG cloth, the goal of keeping the “We used a process trailer to footage in 3D and rotoscoped feeling real and organic led us to get interiors of our talent driving out each element. From there, shoot real footage on location and through the city, cranes to get a master camera was created combine it with real footage of ink overhead shots, and helicopters for blocking in After Effects, and spreading across paper.” to get sweeping vistas. Also, a each shot was composited with The live footage was shot with the Pursuit Systems rig mounted on the ink elements acting both as Sony F35 and RED One digital a Porsche Cayenne Turbo, with texture and as mattes to reveal the camera packages. “Even though a 15-foot techno on its roof, was footage.” For JWT London CD: Jaspar Shelbourne ADs: Andy Huntindon, Martin Smith HOP: Dean Baker Assistant producer: Jack Bayley For Stardust Studios Director/CD: Alan Bibby Live action producer: Rich Kaylor DOP: Brian Newman EP: Mike Eastwood HOP: Beth Vogt Sr producer: Greg Heffron Asst producer: Ryan McRee Editors: Andrew Borin, Patrick Burns, Jr. Designers: Aaron Mauer, Julene Bello, Oliver Schroeder, Danny Ruiz, Dustin Lindblad, Bryan Louie Storyboard/illustrator: Glenn Urieta 3D modeling/lighting/animation: Mark Rohrer Tracking: Weichieh Yu 2D animators/compositors: Tim Regan, Tonya Smay, Marco Giampaolo, Bashir Hamid, Rick Malwitz For The Mill Colorist: Damien Van Der Cruyssen Rotoscoping: FX3X, Macedonia For Warner Chappell Composers: Alison Goldfrapp, William Gregory For Jungle Studios Mixer: Owen Griffiths stash 59.06

“LX Forty” Branded content 2:26

Client: Swiss International Airlines Agency: Publicis, Zurich Director: Marc Forster Animation/VFX: MK12 www.mk12.com After successful collaborations on feature films The Kite Runner and Quantum of Solace, MK12 have become director Marc Forster’s default motion design shop. This branded film (also adapted into a we’d do the visuals. The only real foreign to us, but given the quick For Ping Pong, Zurich :30 TVC) is their first commercial mandate from the client was their turnaround it did create some Writer/director: Marc Forster assignment together. new first class seat be featured interesting workflow adjustments Producer: Peter Lehner Ben Radatz and Tim Fisher, somewhere in the piece. It is an here at the studio. We had a Associate producer: Yves Bollag animators at MK12: “Swiss impressive piece of design so we couple of weeks to do some R&D For MK12 International contacted Marc had no problem working it in. and exploratory design work, but DOP: Roberto Schaefer, after his success on Quantum once we hit actual production, we “Marc’s writing was very ethereal A.S.C. editor: Jay Nelson of Solace. Since Marc is Swiss had about a month to complete and nostalgic, and there was very Music: Brian Reitzell they thought he would make a the piece.” little to grab onto in terms of literal compelling subject for a campaign For TEG imagery. Our biggest challenge For Publicis, Zurich – they just wanted him to write a Producers: Sue Lee, was to develop a visual language CDs: Martin Denecke, short film of his choosing, which Neil Van Harte and overall character for the piece Sacha Moser, Tim Hoppin they would then underwrite. that was as honest and engaging TV producer: Tufan Tuna Toolkit “Once he signed on, he contacted as the writing itself. We had to Maya, Adobe suite, Final Cut us; he would do the writing and finish the piece in 2K, which isn’t stash 59.07

Syfy “House Of Imagination” Branding film 2:00 Agency: 4 Creative Director: Brett Foraker Production: 4 Creative Animation/VFX: MPC www.moving-picture.com After two years of research, strategy and testing, Sci Fi Channel is morphing into Syfy. Why? Cable channels are trying to expand their audiences by moving away from specialty programming; not only was Sci Fi shackled with a moniker that narrowed the perception of their offerings, it London’s MPC (Watchmen, Harry Sr producer: Brian Everett Editor: Adam Rudd was also too generic a term to be Potter the Order of the Phoenix). Line producer: Liz Gaffney Sound design/composer: trademarked. Production coordinator: Rich Martin Owned by NBC Universal, Syfy is Miguel Rodriguez The centerpiece of the rebrand available in 95 million US homes For MPC Design consultant: Amie Nguyen is House of Imagination, a two- and targeted to reach more than EP: Jay Lichtman minute film (designed to be cut into 50 international channels by the For 4 Creative Producer: Paula Da Costa a series of five and ten-second IDs) end of 2010. Director: Brett Foraker VFX super (2D Lead): produced by UK-based 4 Creative CD: Tom Tagholm Marcus Wood For Syfy In-House led by director Brett Foraker, along VFX super (3D Lead): Ex CD/ VP creative: EP: Shananne Lane with feature A-listers DP Larry Steve Moncur Michael Engleman Business director: Olivia Browne Fong (Watchmen, 300), production Producer: Roberts Jones HOP: Kate Leonard Music: Goldfrapp “Happiness” designer Tino Schaedler (Charlie Production designer: and the Chocolate Factory, The CD: Joe Loskywitz AD: James Coulson Tino Schaedler Golden Compass) with VFX from DOP: Larry Fong stash 59.08

MTV Networks International Broadcast design x 6 Directors: Vivian Rosenthal Norra Abdul Rahim Maxim Zhestkov Henrik Mauler MATT PYKE Production: Universal Everything Animation/VFX: Tronic Realise Maxim Zhestkov Zeitguised Universal Everything www.tronicstudio.com www.realisestudio.com www.zhestkov.com zeitguised.wordpress.com www.universaleverything.com is relevant and enticing for a new For MTV World Design Studio generation of users; re-evaluate Milano The first six of 16 idents to roll and re-establish the iconic MTV CD: Roberto Bagatti out as part of the complete MTV logo and its applications; cement For MTV North International rebrand spanning the brand’s reputation as a CD: Dylan Griffith 64 channels, 160 territories, powerhouse in the youth-oriented 31 languages, eight different content and creative space.” alphabets and five broadcast formats. Overall creative direction for the project emanates from Universal The network says the massive Everything, the diminutive design design exercise has three goals: studio located in Matt Pyke’s “Align creative output with the cottage in Sheffield, Yorkshire. brand’s content and establish an Schedule: four months. international brand language that For Tronic Director: Vivian Rosenthal For Realise Director: Norra Abdul Rahim For Maxim Zhestkov Director: Maxim Zhestkov For Zeitguised Director: Henrik Mauler For Universal Everything Director: Matt Pyke For Freefarm Sound studio/discography: Simon Pyke Toolkit After Effects, Houdini, Cinema 4D, Maya, LightWave stash 59.09

FOX CRIME ITALY Broadcast design

Director: Tomi Di Animation/VFX: PUNGA www.punga.tv “Creating beauty from the ugliness of a violent death was an interesting challenge,” reveals Patricio Verdi Brusati, EP at Buenos Aires animation/branding studio PUNGA, “And since we were on a tight budget we didn’t have the chance to use actors (which could have helped us transmit pain or fear with their facial expressions) we needed to show suffering using skeletons, which of course, don’t have any expressions. “The idea was to show different typologies of crime in a way that could show both cruelty and different materials such as ink, For PUNGA Toolkit beauty combined. We chose to vegetables, oil, smoke and many Direction: Tomi Di 3ds Max, After Effects, Cinema 4D show what happened inside the others to create the effects of EP: Patricio Verdi Brusati victim’s body when the attack corrosion, bleeding and choking.” 3D: Ruben Stremiz, Gabriel was suffered, showing the Fermanelli, Sebastian Pavone Cao, For FOX Crime Italy consequences of it. The biggest Marcos De Lunardo FOX Italy: Juan Pablo Kessler difficulty was working with 3D Compositing: Marcos De Lunardo, Music: Diego Voloschin For particles and fluids combined with Mariano Farias, Facundo Laboranti live action, since we shot most of AD: Tomi Di, Pablo Alfieri, the liquids and corrosion using Mariano Farias stash 59.10

MTV Australia Awards 2009 Broadcast design x 4

Agency: different instruments, transforming MTV Australia its environment simultaneously. Director: The instruments represented were Resolution Design drums, brass, keyboards and guitar. Animation/VFX: Resolution Design That’s when it got exciting. We www.resolutiondesign.com.au built four narratives based around the notions of birth, life and death Will Alexander, head of production with accompanying musical at Resolution Design in Sydney: instruments that inspired the “MTV came to us with the idea visuals.” Schedule: eight weeks. of ‘Visual Music’ but a fairly open brief. We talked about lots of ideas internally and with Johan and Sven For MTV Australia our clients. CD: Vanessa Zuppicich Sr creative: Johan Polhem I narrowed it down to this: How On-air promotions manager: would people from the distant Sven Muller future imagine music from this era if they had to piece For Resolution Design it together from fragments CD: Tim Dyroff of archaeological evidence? HOP: Will Alexander They might find damaged digital Head of 3D: Max McMullin databases of songs and music 3D: Albert Susantia, Hugh Carrick- videos and try to piece them Allen, Matthias Reiche together but invariably they would Designer/compositor: Lisha Tan, get it wrong. Victor Norman “This led us to develop a speaker Toolkit that was really a mixture of Maya, Combustion, After Effects, a gramophone speaker and a jet Final Cut, Photoshop engine with a kind of old school iPod glossy exterior. The speaker would take on the attributes of stash 59.11

BBC Video “DVD Open” DVD promo 1:21

Client: BBC America Director: Scott Valins Animation: Valins&Co. www.valinsandco.com Scott Valins, CD at Manhattan design and animation studio Valins&Co.: “This is an open running on all DVD content the BBC distributes in the US. The main goal of this project was to create an endearing promotional piece that not only champions the content of the BBC, but also points domestic viewers to BBC America For Valins&Co. for their fill of all things British. CD/director: Scott Valins Producer: Michele Watkins “The piece was written and read Design/animation: Luis Aguirre by The Daily Show’s John Oliver, Illustration: Devin Clark providing an hilarious framework to build upon. The intent of the For BBC America animation was to utilize strong CDs: Andrew Jackson, Matt iconographic illustrations in an Christine upbeat and vibrant way, eliciting Producer: Vicky Lemont smiles and anglophilic laughter.” Design/illustration: Mike Gordon Copy: John Oliver Toolkit After Effects, Photoshop, Illustrator stash 59.12

For PepperMelon MTV SpongeBob Director: Tomás García SquarePants “Trippy“, Ex producer: Fernando Sarmiento, “Guru”, “Hypnosis” Tomás García Broadcast design x 3 Project managers: Ignacio Godoy, Martin Dasnoy, Director: Writer: Guido Antonucci Tomás García AD: Ivan Flugelman, Juan Molinet, Animation: Tomás García PepperMelon Texturing/lighting/rendering: www.peppermelon.tv Guillermo Kelly Three IDs celebrating Storyboards/animatics: Tomás SpongeBob’s 10th anniversary García and marking his move from Animation: Ignacio Godoy, Martin Nickelodeon to MTV. Project writer Lapetina, Martin Dasnoy, Julio Guido Antonucci at PepperMelon: Velazquez “Our goal was to emulate three Modelling: Julio Velazquez, Ignacio different scenarios where the main Godoy, Martin Dasnoy character of the short felt down Compositing: Ignacio Godoy, and out because of the current Martin Dasnoy, Fernando world crisis. You encounter the Sarmiento road to happiness through various Color correction: Tomás García, elements like religion, hypnosis Martin Dasnoy and indirect hallucinogenic drug Additional 2D effects: Martin references, discovering its final Dasnoy resolve: SpongeBob SquarePants! Additional particle effects: Fernando Sarmiento “With the real-life simulations of an office, bedroom, and a trip to the psychiatrist, the challenge for the PepperMelon team was to take the 3D and make it seem as if it were hyper real. We had to be really meticulous and we had some long hours – one of us passed out over the keyboard, but I think that was it.”

Here’s your chance to own 30 extraordinary short Stash SHORT FILMS 1 delivers an international films by today’s most innovative directors – over two- program of festival hits and little-known gems PLUS and-a-half hours of sheer entertainment from Stash behind the scenes extras and a 40-page book of stills, DVD Magazine. credits, production notes and links for every project.

www.stashmedia.tv/collections/SF1 stash 59.13

2009 Promax/BDA Awards Event titles :60

Client: Promax BDA Director: Frank Pichel Animation/VFX: Favorite Color favoritecolor.tv Director and Favorite Color CD, Frank Pichel: “The client’s brief was to develop a Promax/BDA awards show open that would reflect the current economic climate and state of the industry. I decided we should focus on the transformative power of the challenges we face, and that this was a time to look for “Tu came in, and the next week For Promax BDA new methods and processes. was pretty crazy – a lot of different General manager: Jill Lindeman Internally we had our usual creative sequences were developed and development, but it didn’t feel like For Favorite Color thrown out. We were coming down we were quite nailing anything Director: Frank Pichel to the shoot date so we decided uniquely powerful. DP: Dave Tress to shoot twice as many elements AD: Varathit (Tu) Uthaisri “The school year was ending as we needed. This created a very Designer/animator: Bill Bourbeau, around that time and I was long, 18-hour shoot day – with a Layne Braunstein, Alex Postelnicu, attending the local art schools’ dog, a bunch of lizards, a giant Silke Fleming thesis screenings. At the Parson’s millipede, a crab, five gold fish and Sound design: Jarratt Moody MFA event, Varathit (Tu) Uthaisri’s kids.” Producer: Jojo Mu piece Surface stood out as really Watch Behind the Scenes EP: Dave Dimmick strong and smart. The next day I on the DVD to see Varathit called and emailed Tu to see if he’d Toolkit Uthaisri’s film Surface. like to be involved in the Promax/ After Effects, Cinema 4D, Maya, BDA open. Final Cut stash 59.14

Sour “Hibi no Neiro” Music video 3:51

Record label: locations; d) we hadn’t seen web- Zealot Co. Ltd cams explored in this way before. Neutral Nine Records “We filmed ourselves for every Director: square so we could get the timing Hal Kirkland right and to see how each scene Magico Nakamura matched the concept and lyrics. Masashi Kawamura These test movies and animatics Masayoshi Nakamura were sent to the cast members Animation/VFX: so they could rehearse and use Magico Nakamura them as a guide on screen while Masayoshi Nakamura they were filmed – it took everyone Masashi Kawamura quite a few takes. Hal Kirkland “Each cast member contributed 80+ cast members and their a great amount of time for little webcams combine to create reward, so we’d love to put a big a logistical headache and a call out to everyone that helped us. mesmerizing video for the You rock, we love you and we owe Japanese band Sour. you one.” Co-directors Magico and Schedule: one month for concept, Masayoshi Nakamura: “The first one month for storyboards and challenge was the nonexistent test films, one month for filming budget. The second was the band and editing. lived in Tokyo and all of us live in Toolkit: New York. And every member of Final Cut, After Effects, iShowU our team had hectic day jobs to contend with. “Web-cams were the perfect medium for a few reasons: a) everyone has one; b) they were a cost-effective camera source; c) we could shoot in distant stash 59.15

Zero 7 “Everything Up” (Zizou) Joker and Ginz remiX Music video 2:30 ic video 5:29

Agency: Moving Image Exchange Director: EB Hu Animation/VFX: Moving Image Exchange Director EB Hu: “Zero 7 are not use to producing music like this, which made them unsure of the direction of the visual. Thus, it’s down to the creative team to give suggestions while keeping a balance between the duo’s new creation and their old tradition. We filmed the arms and much smaller four-faced head in live action and the ghost body is done in After Effects. So to composite those three elements and move them organically, became our major difficulty.” Schedule: from brief to delivery in two weeks. For Moving Image Exchange Director: EB Hu Producer: Joe Marshall Additional 3D: Simon Graham Actors: Paul Coward, Qian Tian Toolkit After Effects, Cinema 4D stash 52.16

Tomas by James Palumbo “Hank” Viral 1:17

Client: Ministry of Sound / MSHK Director: Mark Warrington Animation: Mainframe www.mainframe.co.uk Tomas, a dark and surreal morality tale by British author and Ministry of Sound co-founder James Palumbo, is not the first novel to use online films as a promotion device. But this one-minute nightmare called Hank is certainly the most squirm-inducing book-related viral to date. The clip is one in a series by London’s Mainframe who built the action by dissecting and enhancing a single illustration by Neal Murren. For Mainframe Producers: Adam Jenns, Emma Phillips Director/animator: Mark Warrington For Breed London Illustrator: Neal Murren For SNK Media Sound design: Seb Juviler, Kayvan Moghaddassi Toolkit After Effects stash 52.17

“Purpose” Branded content 2:20 “Having never done much Agency: animation, I relied heavily on Saatchi & Saatchi, Toronto Bob Zagorskis at Alchemy. He Director: strategized with me on how we’d Chris Hutsul break down the landscapes and structure the characters and the Production: transitions – he really elevated Soft Citizen the project with good ideas and Animation: tireless work.” Alchemy For Saatchi & Saatchi, Toronto www.helloalchemy.com CDs: Brett Channer, Helen Pak Christopher Hutsul, director, Producer: Jennifer Mete illustrator and character designer Director of digital marketing: at Soft Citizen in Toronto: “Saatchi Kevin Krossing had crafted a script and a concept Web developer: Matt Mollon to build their new site around but Interactive producer: Stefan Fabich they didn’t have a visual world to For Soft Citizen go with it. I sat down with Brett Director of animation/character Channer and Helen Pak and got development/illustrator: a sense of what they were looking Chris Hutsul for then came back a week later EP: Eva Preger with characters and landscapes Producer: Sarah Lasch and a palette. Most of it was approved right off the bat. For Alchemy Motion graphics: Bob Zagorskis “Every element of the website and Producer: Stefani Kouverianos animation was hand-rendered in ink and watercolor. This approach For Pirate Radio & TV helped create a storybook feel Narrator/voices: Chris Tait but it was more labor intensive Music composer: Ian Lefeuvre than working with hard-line vector Sound/mix engineer: Keith Ohman elements as revisions required busting out the paints and paper – Toolkit it was grueling at times. Final Cut stash 59.18

“Lifted“ Viral 1:13

Agency: Heavy.com Directors: Bryan Lee, Jason Cook Animation/VFX: Nylon www.nylon.la Joe Montalbano: EP at Nylon in LA: “The project brief from the client was simple: they wanted to see our interpretation of the word strength. Although the project was commissioned by the US Military through the website Heavy.com, we did not need to include or allude to the military in any way. “The main technical challenge of the project was merging many For Nylon LA For Braincloud different animation techniques into CDs: Bryan Lee, Jason Cook Sound: Scot Lang, Shawn Lyon a cohesive piece. The final clip EP: Joe Montalbano Voiceover: Jed Luczynski includes character animation, 2D Designers: Bryan Lee, Jason Cook and 3D animation as well as stop Toolkit 2D/3D lead animator: motion animation. Adobe Creative Suite, Cinema 4D Jake Portman “Throughout the entire project 2D/3D animators: Jake Portman, there were no client notes, which David Lewandowski is rare if not unheard of in our Character design: Nick Jeong industry. And there was no preset timing for the piece, so we were able to create the pacing, which really benefited the narrative.” Schedule: four weeks. stash 59.19

“Alarm“ Short film 8:53

Director: Moo-hyun Jang Production: MESAI Animation: MESAI www.mesai.co.kr Mesai is the tiny talent-heavy animation collective from Seoul, South Korea, who created this nine-minute character piece in time away from their day jobs at a game company. Director Moo-hyun Jang says the team produced Alarm “as a test film to increase our know-how and to examine an animation pipeline for the next projects of the MESAI independent animation team.”

For MESAI Set/rigging: Moo-hyun Jang Toolkit Director: Moo-hyun Jang Animation: Moo-hyun Jang, Maya , Cyflex , Rhinoceros, Shake, Story: Moo-hyun Jang, Jung Woo Choo Vegas, Premiere Pro Young Suck Choi Cloth dynamic: Jung Woo Choo Art/design: Moo-hyun Jang, Surface/lighting: Moo-hyun Jang Jung Woo Choo Edit/composite: Moo-hyun Jang Modeling: Jung Woo Choo, Music producer: Jung Won Yang Moo-hyun Jang Foley design: Dong Hee Wee stash 59.20

Twisted Tongue “Got A Really Good Thing” Music video 3:35

Label: Acid Jazz Director: Oceanwarmair Animation/VFX: Oceanwarmair www.oceanwarmair.com London’s Oceanwarmair pummel the boundaries of their usual eccentricities with this vibrant, whimsical and seriously strange promo for soul/funk/electro outfit Twisted Tongue. Oway Lau of Oceanwarmair: “We came up with this idea together of ‘Men have to be taught’ (which I completely agree) and that become the main theme of the video. Creatively we didn’t feel constrained at all, it For Oceanwarmair was just a pleasure working on Asistant director: Mike Chan something crazy and fun. But it DOP: Jeff Lye did require lots of preparation and Cast (Pigeon man, Mushroom): organization to match all the action Mike Chan and facial expressions to fit into Makeup: Yandis Ying the shots.” Direction (Thailand): Lostinspace, The project was in production for Oceanwarmair over half a year between paying Cast: Jiggie Teparak gigs and delivered almost three Toolkit months late to a very patient, After Effects happy client. stash 59.21

Grapes! “Get Get Get” Music video 3:42

Directors: “Working in full HD format, we had Volstok Telefunken to find workarounds to handle files Production: with giant dimensions, and again Volstok Telefunken when shots came together in the editing. Adobe Illustrator huffed Animation/VFX: and puffed with the files, almost Volstok Telefunken, collapsed, but once we found a Michele De Feudis way to convert them to bitmaps www.volstok.com and cut them up, they worked “Make me something fun” was smooth in After Effects.” the only brief Gent animation and Schedule: concept, design and motion design studio Volstok production in one month. Telefunken received from Belgian singer/DJ Flip Kowlier for this For Volstok Telefunken video. Directors/designers/animators: Wouter Sel, Thijs De Cloedt, Given little time and less money, Michele De Feudis. Volstock co-owners and creative directors Wouter Sel and Thijs De Toolkit: Cloedt “decided to go for full-on Illustrator, Photoshop, After Effects designs with lots of details, and to keep animation as simple and straightforward as possible. We divided the piece in three sections (beginning/end and two middle sequences) so everyone could concentrate on the essence of his sequence. stash 59.22

TARGET “Friends With You“ TVC :45

Directors: Samuel Albert Borkson Arturo Sandoval III Tomás García Animation: PepperMelon www.peppermelon.tv Miami-based design duo Samuel Borkson and Arturo Sandoval aka Friends With You team with Argentinean studio PepperMelon for a campy romp to screen in- store at Target locations across the US. PepperMelon producer Guido Antonucci recalls the major challenge came in translating the carefree 2D characters into three dimensions: “By storytelling in 3D, the look designed by Friends With You could lose legibility, so we had to add more contexture and form For PepperMelon Modelers: Leonardo Anbinder, Martin Dasnoy, to the characters, to maintain the Director: Tomás García Ignacio Godoy Fernando Sarmiento characters’ unique aesthetics.” EPs: Fernando Sarmiento, Riggers: Ignacio Godoy Texturing: Sonni, Juan Molinet Production schedule: four weeks. Tomás García Animators: Martin Dasnoy, Animatics: Ignacio Godoy Producer: Ignacio Godoy Julio Velazquez Storyboards: Tomás García, For Friends With You Project manager: Martin Dasnoy Cameras: Ignacio Godoy, Juan Molinet, Sonni Directors: Samuel Albert Borkson, Character designers: Sam and Fernando Sarmiento Music/sound design: Norman Arturo Sandoval III Tury, Sonni Environments/additional modelling: Bambi, Mami Chan EP: Dan Ruth AD: Sonni Ignacio Godoy Toolkit Additional designs: Juan Molinet Compositors: Ignacio Godoy, 3ds Max, Combustion TD: Ignacio Godoy stash 59.23

Azul “Lançamento” TVC :60

Client: Azul Linhas Aéreas Brasileiras Agency: DPZ Propaganda Director: Ricardo Carelli Animation: Dínamo Digital www.dinamodigital.com.br The Post-It Note animation trend gets a nifty twist in this CG- enhanced spot from Dínamo Digital in São Paulo, one of a pool for domestic Brazilian airline AZUL. For DPZ EP: Gilson Farias 3D artists: Natan Zuanaci, Ricardo Carelli, director at Dínamo CDs: José Zaragoza, Fernando Producer: Ricardo Antiorio Bruno Farneze, Cinthia Fujii, Digital: “The brief was to create Rodrigues, Diego Zaragoza Cinematographer: Carlos Zalasik Guilherme Pace, Lincoln Lima, a fun spot using the family of Creative department: Fernando Editor: Beto Araújo Aniela Arantes, Felipe Pulcinelli, characters designed by the agency Rodrigues, Rafael Urenha, 3D lead: Leo Cadaval Marcelo Pirk, Artur Montanari, that represented new ideas and Alexandre Vilela, Felipe Gall, Post super: Maria Luiza ‘Tutu’ Gabriel Prezoto, Fernando Herrera the AZUL way of flying. We did not Marco Versolato Mesquita Smoke: Marcell Hernandez, have enough time to use proper Agency producer: Paulo Moraes, Account manager: Cláudio Flávio Kawamoto stop motion, so we did some small Flávia Lima Tolentino For AD Music stop motion tests and a lot of other Advertiser: Gianfranco Beting, Storyboard artist: Marcelo Fahd Composer: Waldo Denuzzo tests with real paper in order to Dilson Gonçalves Color correction: Kauê Kabrera Producer: Martina Figueiredo make the 3D look like scrambled 2D effects/compositing: Luiz For Dínamo Digital up pieces of paper.” Alberto Ferreira, Leandro Franci, Toolkit Director: Ricardo Carelli Bruno Dicolla, Saulo Silva, Photoshop, Maya, After Effects, Watch Behind the Scenes on 1st ADs: Diego Denardi, Bruno Carelli, Nilson Oliveira Final Cut, Color, Smoke the DVD. Rodrigo Rebouças 2st AD: Uirá Scotoni stash 59.24

TIM Mobile “Boca Legendado”, “Represa” TVCs :30 x 2 Agency: Neogama BBH Publicidade Ltda Directors: Fábio Soares João Caetano Feyer VFX: Tribbo Post www.tribbo.com.br São Paulo VFX specialists Tribbo Post generate spectacular and voluminous typography for two spots demonstrating how much Brazilian customers can talk with the new TIM Infinity mobile contract. Guido Gallo, co-owner of Tribbo: “We were working with a very tight schedule – 15 to 20 days for each commercial – including the study and concept time for the letters. So everything needed to be done (and changed) very fast.” Cinematography: Rhebling Jr Sound Studio: Tentaculo Toolkit XSI, renderBOXX, Flame, Flint, Smoke stash 59.25

Red Steel 2 Game cinematic 1:54

Client: Ubisoft Director: Chris Delaporte Animation/VFX: WIZZ www.wizz.fr The challenges facing WIZZ director Chris Delaporte on this trailer for Ubisoft’s Red Steel 2 began even before the design phase in the form of strict advertising guidelines from Wii which shackled him with showing a demonstration of how to play the video game and clear interaction between the player and the screen. When it came to production, Delaporte and the animation team wanted to make the CG imagery impressive but had to be mindful The meshing of the two worlds is For WIZZ For Medialab of the game universe and the enhanced with subtle touches: the Director: Chris Delaporte Grading: Mathieu Toulet capacities of the Wii system. A clouds in the game also reflect on Editor: Jérome Lozano Music: Raphael Ibanez de Garayo. the player’s window; the desert Animation: Xavier Lamouche, careful balance had to be struck Toolkit wind also touches the dried leaves Wassim Boutaleb, Quentin so the cell-shaded low-polygon 3ds Max, V-Ray, Maya, Flame, in the apartment; the aimated Bailleux, Millas, Guillaume Marcel geometry could cut with the HD After Effects, Photoshop, Avid live images. rising sun shines on the face of Render: Ronan Lefure, the player. Jeremy Theng Modeling/texture: For Ubisoft Jean Constantial, Ronan Lefure EP: Sophie Penziki Matte painting: Jean Constantial Flame: Misha Sher stash 59.26

“Infinity” Corporate film 3:54 Client: Citizen Watch Co. Agency: East Japan Marketing & Communications, Inc. Director: Kosuke Oho Production: Na-ru Corporation Animation/VFX: WOW Inc. www.w0w.co.jp Still photographs of Tokyo become the base for the intricate choreography of light and geometry in this film screened in Citizen’s booth at the prestigious Baselworld 2009 jewelry tradeshow. Kazuhiko Kameda, chief producer at Japanese creative studio WOW Inc.: “The theme of the movie is For WOW Inc. infinite possibilities for Eco-Drive, CD: Kosuke Oho Citizen’s new watch model. We Producer: Kazuhiko Kameda cohesively combined images and AD: Takuma Nakazi meanings of constant change and Visual designers: Daisuke energy in Toyko with these infinite Moriwaki, Tsutomu Miyajima, possibilities. We hope to express Yoko Ishii, Daihei Shibata how the enormous energy of Sound: Hideaki Takahashi Tokyo dynamically circulates.” Post Toolkit schedule: two months. Cinema 4D, 3ds Max, After Effects, Final Cut stash 59.27

“Machu Picchu Post” Student film 5:31

School: Supinfocom, Arles Directors: Clément Crocq Margaux Durand-Rival Nicolas Novali Animation: Clément Crocq Margaux Durand-Rival Nicolas Novali machupicchupost.free.fr “Our directive from the school was to make a five minute film in 3D in our last year in a group of three. Once Clement Crocq’s synopsis was selected he recruited Nicolas and Margaux as teammates. “We decided to make the film in full HD so it was a good technical “It was especially awesome to challenge: more details in textures, have so many comments and modeling, matte painting; have to greetings from the Peruvian people work with proxies especially for who seem to appreciate our short the compositing part because of a lot. It’s really a big reward for us, the weight of the files and render; probably the best of all.” finding solutions to ensure a rapid render in 3D with big frames. Sound: Thomas Vaquié “Otherwise we have also the Toolkit challenge of big open landscapes 3ds Max, Photoshop, After Effects, to make, fluid transitions between Premiere the different worlds and to find the best way in 3D to have the rendering look we wanted. stash 59.28

“Yellow Belly End” Student film 8:47

School: National Film and Television School Director: Philip Bacon Animation: Philip Bacon www.slinkypics.com Philip Bacon, a recent graduate of the UK’s esteemed National Film and Television School, on the making of Yellow Belly End: “Everything was meticulously storyboarded and made into an animatic until we began shooting in the middle of May. The footage was then edited together for a couple of weeks and I was able to start rotoscoping this cut at the also interesting to see how many Production designer: Violin: John Dickinson, Clare beginning of June. The live action people were drawn to trying on the James Morrall Wheeler, Becca Mathews, Ruth Elder, was filmed using a basic digital cow costume and then pretended Editor: Josh Levinsky Cello: Karen Davies, JoKeithley camera and the rotoscoping was to milk themselves. They shall Composer: Stuart Earl Viola: Alison Jones, Emily Richards drawn using a Wacom tablet, remain nameless.” Sound designer: Zhe Wu Double bass: Nick Walsh Sound recordist: Mike Taylor Foley artist: Peter Burgis Photoshop and After Effects. Philip Bacon is now signed for 1st AD: Adam Coop Bird: Simon Munnery representation with Slinky Pictures “Fortunately all the actors involved PMs: Oscar Roig, Joanne Watts Cow: Laura Pyper in London. brought something new and Clapper loader: Charlie Palmer Cat: Alanis Peart exciting to their particular role Director/co-writer/animator: Grip: Tony Shults Dog: Michael Coghlan including actor and comedian Philip Bacon Rotoscoping assistants: Rabbit: Eliott James Simon Munnery (who played the Producer: Mo Bazazi Sara Chew, Richard Phelan Fish: Nemo Wu main character) known for his Co-writer: Mahalia Rimmer Colourist: Richard Phelan surreal brand of humor. It was Cinematographer: Leigh Alner Online edit/grader: Nikolas Almpanis Toolkit Photoshop, After Effects stash 59 BONUS FILMS Star Wars: The Old Republic “Deceived” BLUR STUDIOS Cinematic trailer 3:53 Recent game work x 2 Clients: Blur hammered out its own link LucasArts at the top of the 3D food chain BioWare with acclaimed narrative short films including Gopher Broke and Director: Gentlemen’s Duel and their genre- DAVE WILSON defining gaming work like the two Animation: projects presented here. Most Blur Studio recently the Venice, CA, studio www.blur.com teamed with director David Fincher to option Eric Powell’s comic book Premiered to cheering throngs at The Goon for development into a the E3 gaming trade show in 2009, feature film. this panoramic and highly detailed trailer for the new massively- multiplayer online game version “Prototype” of the most successful narrative Game Cinematic 3:10 constructed individual assets: painlessly. We had to do more franchise in history pushed buildings, cars, storefronts, matte painting extensions than the limits of Blur’s seasoned Clients: telephone booths, scattered trash, we usually do, but most of the city production team team and battle- Activision/Blizzard etc. then had our scene assembly was modeled and rendered in one hardened infrastructure. Radical Entertainment team build the background around pass.” Schedule: November 2008 the animation, set dressing each - March 2009. Format: HD, 2:35 Blur EP Al Shier: “It was one of Director: shot with the individual assets. It aspect ratio. the most complex projects we’ve Blur Studio saved us a lot of time and ensured undertaken –hundreds of Jedi For Blur Studio Animation: each environment was optimal and Sith in robes that required CG super: Jerome Denjean Blur Studio for each shot, even though it cloth simulation running around Animation super: Derron Ross/ www.blur.com required more effort to make sure with light sabers, fighting in a Shaun Escayg everything was consistent from temple that is falling apart. We Blur EP Al Shier: “The main FX super: Brandon Riza one shot to the next. also wanted to create a trailer challenge for this project was CD: Tim Miller with incredible action and fight the amount of city we needed to “The sheer amount of polys on the EP: Al Shier choreography so we brought in build. We couldn’t approach it early city shots was intimidating, Toolkit a stunt team for a few weeks to with the conventional method of but mental ray in conjunction 3ds Max, XSI, Digital Fusion, create some high energy scenes constructing a main set that would with the 64bit version of 3ds Max Mental Ray, Adobe CS3 that we, as Star Wars fans, have cover all the shots. Instead we crunched through them pretty always wanted to see.” For LucasArts For Blur Studio FX: John Kosnik, Johanes Kurnia, Sr director of global marketing: Director/CG super:Dave Wilson Andrew Melnychuk-Oseen, Peter Kingsley Animation super: Derron Ross Torbjorn Olsson, Brian Prince, Sr integrated marketing manager: CD: Tim Miller Brandon Riza, David Stinnett Roger Evoy Producer: Mandy Sim Mocap prep/clean-up: Ryan AD: Steve Ervin EP: Al Shier Girard, Anthony Romero Sr product marketing manager: FX super: Brandon Riza Technical/QC supers: Shaun Rob Cowles Layout super: David Nibbellin Absher, Steven Caron, Sze Chan, Product marketing manager: Lighting/compositing super: Ben Durkin, Michael Stieber Pat Alvarado Corey Butler Concept design: Hugo Martin, Character modeling super: Sean McNally, Chuck Wojtkiewicz For BioWare Sze Chan Matte painter: Jaime Jasso Director of marketing: Leo Olebe Associate producer: Lindsey Production assistant: Amanda Manager/online marketing Zamplas Powell production: Rob Chestney Modeling: Shaun Absher, Heikki Technical support: Shaun Escayg, Marketing specialist: Deborah Shin Anttila, Alessandro Baldasseroni, Andy Grisdale, Greg Kegel, Brian Sze Chan, Darren Butler, Luis McKee, Leo Santos Calero, Jinho Jang, Kris Kaufman, Tools/scripts: Karl “Krash” James Ku, Alex Litchinko, Laurent Goldshmidt, Eric Hulser, Jentzen Pierlot, Olivier Vernay-Kim Mooney, Tomas Pulmano Rigging: Steven Caron, Ben Programming/systems admin: Durkin, Enoch Ihde, Michael Duane Powell, Jeremy Donahue, Stieber Paul Huang, Matt Newell Animation: John Kosnik, Thai-My For Impact Stunts Nguyen, Derron Ross, William Fight choreographer: Eric Chen Vanoost, Jon Vener, Brian Stunt choreographer: Joe Perez Whitmire, Nick Whitmire Hair/cloth simulation: Becca Mocap stage: House of Moves Baldwin, Jon Jordan Toolkit Lighting/compositing: Heikki 3ds Max, Softimage, Digital Anttila , Corey Butler, Darren Fusion, Mental Ray, CS3 Butler, Luis Calero, Kris Kaufman, Production Suite Jan Major, Olivier Vernay-Kim, Dave Wilson CMY CY MY CM K Y M C

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