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SFP10_Perfect10_Stash.indd 1 8/25/09 12:20 PM Enter code: A year ago in this space I refused to make predictions about 2009 64PG3SF1 because the economic tsunami was in mid-douse and it was hard to see at: stashDVD MAGAZINE 64 my hand in front of my face let alone many months out. Now, as the seas show signs of calming and we’ve all had time to learn a few new strokes, www.stashmedia.tv/promo Stash Media Inc. Editor: Stephen Price the thought of looking ahead seems a tad less scary or futile. to SAVE 25% Managing editor: HEATHER GRIEVE Associate editor: ABBEY KERR So, at the risk of sounding like a Holiday Inn management seminar, I Account manager: APRIL HARVEY suggest 2010 will be dominated by the quest for, wait for it... bargains. Here’s your chance to own 30 extraordinary short films by Stash SHORT FILMS 1 delivers an international program of Administration: Yes, it feels like clients and employers have always demanded too much STEFANIE POLSINELLI today’s most innovative directors – over two-and-a-half hours of festival hits and little-known gems PLUS behind the scenes Preview/montage editor: for too little. But it’s a case of degrees and your definition of a bargain. sheer entertainment from Stash DVD Magazine. extras and a 40-page book of stills, credits, production notes and HEATHER GRIEVE What I hear from the industry is marketers and therefore studios will links for every project. www.stashmedia.tv/SF1 Art prep: ALAN SWINTON spend again this year but far more carefully. From pitches, to talent, to Proofing: gear, buyers have their value sensors and bullshit filters set to ultra fine. MARILEE BOITSON Bonus music consultant: Jill O’Sullivan In less lean times, buyers and suppliers would resign themselves to the Preview opening animation: TANTRUM classic fast/cheap/good (choose two) conundrum. A revised version for Technical guidance: IAN HASKIN the new (and still damp) world order should read: faster/cheaper/gooder Cover image: (choose three). FLuoRESCENT HILL Regardless of the economic tide, the best companies and talent have WWW.STASHMEDIA.TV ISSN 1712-5928 always operated this way because they know speed and price are important – but they are not what end up on the reel. Stash DVD Magazine is published 12 times per year by Stash Media Inc. All rights reserved and contents copyright Stash Media Inc. No part of this booklet nor the Stash DVD may be copied without express written Stephen Price permission from the publisher. Editor Subscriptions: www.stashmedia.tv New York, January, 2010 Submissions: www.stashmedia.tv/submit [email protected] Contact: Stash Media Inc. 35 McCaul Street, Suite 200 Toronto, ON M5T 1V7 Canada Curated in New York. Printed in Canada. stash 64.01 natural, deadpan, yet nuanced For Oil Factory Method “Shiny Suds” performances out of the bubbles. Director: Rob Boocheck Viral 1:10 EP: Billy Poveda “A recurring problem was how Line producer: Wade Harpootlian to render a bubble in a way that DP: Simon Thirlaway Agency: seemed believable but also Droga5 allowed the character to adopt For Buck Design Director: a sense of volume and facial CD: Orion Tait Rob Boocheck dynamics. All the photography we Assist CD: Thomas Schmid consulted showed bubbles as very EP: Kate Treacy Production: slight, almost invisible objects, Producer: Kevin Hall Oil Factory where all the information was VFX super: Lars Holmgren Animation/VFX: on the edge of the bubble. This Design: Thomas Schmid Buck Design created a problem: Because our 3D: Lars Holmgren, Kevin Couture, www.buck.tv characters were only comprised Chris Hendryx, Arvid Volz, Scott Orion Tait, CD at Buck in New of two eyes and a mouth, we had Douglas, Kyle Raffile, Casey Reuter York: “It was our job to design to come up with a way to portray Composite: Amanda Lamarco, the characters, animation, and dimension in the face without Dan Short VFX. There was a clear vision of losing the translucent bubbleness Previs: Gareth O’Brien wanting the bubbles to feel cute, of the character. Animation: Chris Phillips but perverted, like drunk and “The neutral lighting on top of a For Beast stoned party guests the morning white background was especially Editor: Amanda Moreau after an all-night bender. They difficult because bubbles don’t For Absolute Post also had to legally feel different really have any shadows or strong Grade: Nathan Kane from Scrubbing Bubbles. So we contrast. There was a lot of nerd Mixer: Peter Buccellato decided to make them look and talk of refractive indexes and how Sound: Beacon Street Studios move like real translucent bubbles. far to push it before they looked “We spent two weeks just drawing, like blobs of KY jelly.” Schedule: Toolkit to try and instill a lot of character five weeks from shoot to delivery. Maya, mental ray, After Effects into really simple designs. This For Droga5 helped inform casting and voice- Creative chair: David Droga over. The director wanted a very Ex CD: Ted Royer natural, unscripted read, and AD: Amanda Clelland this in turn informed animation. Copy: Tim Gordon We filmed the actors during the Head of IP: Sally-Ann Dale record as reference to get very Producer: Cheri Anderson stash 64.02 stash 64.03

Guinness “World” Honda Accord Crosstour TVC :90 “Instruments”, “Boxes” TVCs :30 x 2

Agency: Agency: AMV BBDO RPA Director: Director: Johnny Green Andy Hall Production: Production: Knucklehead Elastic VFX: Animation: The Mill Elastic www.the-mill.com a52 The marketing of Guinness has www.elastic.tv never been a humble affair, but www.a52.com in their latest TVC epic the brand The first two in a pool of four shows its god complex. Dropping spots for the new Honda Accord their “Good things come to those Crosstour. Elastic director Andy who wait” end tag for the first time Hall: “The main idea of the brief in over a decade, the spot shows was sort of a rebirth of cool, burly Guinness-drinking men influenced by Saul Bass and a terraforming the Earth with VFX 60s kind of blue-note design captured, but we felt we needed For Elastic Rotoscoping: David Hochstadter courtesy of The Mill London. painting departments within The Colorist: Adam Scott, Aubrey Laurent Makowski, Ed Shires, and sensibilities. The agency’s that little touch to elevate it. And Director: Andy Hall Colorist: Angus Wall Rich Roberts, lead 2D on the Mill to produce a consistent and Woodiwiss Tom Blake, Andy Guest, creative team wanted to embellish we actually lit the scenes in Nuke DP: Toby Irwin Asst producer: Heather Johann spot comments: “My role was to seamless vision.” Shoot supers: Russell Tickner, Aidan Gibbons, Sergio Xisto, that and let the car take on those as well using normal mapping, Live action producer: Producer: Sarah Haynes work closely with director Johnny Michael Gibson Suraj Odedra, Jules Janaud, characteristics but with a more so we could change the lighting David Wolfson EP: Jennifer Sofio Hall For AMV BBDO Green and AMV BBDO CD Paul Lead 2D: Rich Roberts Francois Roisin modern style. throughout the shot in the 2D EP: Jennifer Sofio Hall CDs: Paul Brazier For HUM Brazier to produce the world they Lead Flame: Rich Roberts, Matte painting: Dave Gibbons, software. It’s very fast and a very Designers: An Nguyen, Henry de Producer: Yvonne Chalkley “We have an incredible Nuke Arrangement: Alex Kemp, had imagined. It was crucial to Barnsley, Pete Rypstra Lee Matthews effective way of doing that.” Leon, Eunice Kim, Max Ulichney For Knucklehead artist working with us [Shahana Robert Lopez retain the feel of the shoot and Flame assist: Gareth Brannan Director: Johnny Green For The Quarry Kahn], who took the look and For RPA For a52 Ex CD: Jeff Koz we attempted to produce effects Lead 3D: Russell Tickner, DP: Joost Van Gelder, Wally Pfister Editor: Ted Guard added these layers of light and this CCO: David Smith CG lead: Max Ulichney CD: Alex Kemp which appeared epic in scale but Jordi Bares Producer: Tim Katz, Fergus Brown dimensionality in the 2D program. CD: Pat Mendelson 3D: Paulo de Almada, Ian Ruhfass, maintained reality. The wide variety 3D: Teemu Eramaa, James Toolkit We stayed very true to the boards Writer: Seth Prandini Christina Lee, Rick Glenn, Toolkit of VFX required working closely For The Mill Spillman, Andy Nicholas, Maya, XSI, Baselight, Flame because the client and the agency AD: Chuck Blackwell Kevin Culhane, Joe Chiechi Adobe Creative Suite, Maya, Nuke with both CG and the matte Producer: Lucy Reid, Ben Stallard Rick Thiele, Adrien St. Girons, really loved the aesthetic we had EP: Gary Paticoff Lead compositor: Shahana Khan stash 64.04 stash 64.05

Subaru “Crowd” Mercedes Benz G Class For Jung von Matt/Alster TVC :60 “Fireworks” Werbeagentur GmbH TVC :45 Ex CD: Deneke von Weltzien, Armin Jochum Agency: Agency: CD: Thimoteus Wagner Leo Burnett Sydney Jung von Matt Creative team: Jonas Keller, Director: Alster Werbeagentur Daniel Pieracci Steve Rogers Director: AD: Jonas Keller Production: Dirk Urbaniak Copy: Daniel Pieracci Revolver Production: Producer: Meike van Meegen, Vanessa Fischbeck VFX: MARKENFILM GmbH & Ko KG Animal Logic Animation/VFX: For MARKENFILM GmbH & Ko KG www.al.com.au INFECTED Postproduction Producer: Frauke Weisheit Cameraman: Michael Goljanek Animal Logic and Revolver director www.infected-post.de Music: Georg Friedrich Händel Steve Rogers discussed multiple Director/Flame artist Dirk Urbaniak SFX: Mathea van Kann, Eddie solutions to the creative brief of and the Hamburg-based Infected Dregis, Richard Stanley drivers surfing effortlessly along Postproduction crew stir up a atop rivers of Subaru employees messy cocktail of high-speed live For Infected Postproduction but ultimately opted to shoot action and 3D for Mercedes. Producers: Henrik von Müller, most of the spot practically, with a Julian Büchner variety of rigs to whisk the drivers For Leo Burnett Sydney Henrik von Müller, postproduction Director: Dirk Urbaniak along over the crowd. Ex CDs: Andy DiLallo, Jay Benjamin. producer at Infected: “We thought Flame: Dirk Urbaniak, Writer: Gary Dawson the best way to celebrate the Niko Papoutsis (Digital Straik) Digital post provided extensive AD: Gary Dawson 30th anniversary of the G-Class 3D: Christian Keller, Tim Borgmann rig and wire removal and filled Exec TV producer: Adrian Shapiro would be if the car itself produced Sound design: Mikis Meyer the streets using a mix of crowd massive fireworks made of mud, Making of editor: Phillip Dreyer duplication, and digital doubles via For Revolver sand, water and dust, while it Making of sound: Hannes Massive software. Director: Steve Rogers easily shows its excellent off-road Hönemann, Ralf Götzenberger EP: Michael Ritchie driving skills.” Producer: Georgina Wilson Toolkit Music: SoundTree Watch Behind the Scenes on XSI, mental ray, 3Delight, Real the DVD. Toolkit Flow, Flame Massive stash 64.06 stash 64.07

United States Air Force Plane Stupid “Csar” “Polar Bears” TVC :60 TVC :40 Agency: Agency: GSD&M Idea City, Austin Mother Director: Director: Phil Joanou Daniel Kleinman Production: Production: MJZ Rattling Stick Animation/VFX: VFX: MassMarket MPC www.massmarket.tv www.moving-picture.com Thibault Debaveye, lead Flame at Director Daniel Kleinman MassMarket in Los Angeles: “We We even designed the drop plane For MassMarket Sean Durnan, Matt Berenty, assembled a volunteer crew and got involved very early in the bid – something the air force doesn’t EP: Christine Schneider Clay Osmus worked around other projects process with director Phil Joanou actually have. It’s only after they Producer: Blythe Dalton Lighters: Kyle Cassidy, Katie Yoon, (shooting backgrounds during to create sketches, style frames, jump out of the plane and the hand Designer: Richard Lee Jin Chong lunch breaks) to make this spot and research reference images comes into full frame that the spot Storyboard: Keith Thompson Lead roto: Jeff Kim for climate change charity Plane that helped him win the project. transitions to using actors.” Matte painter: Tim Matney Roto: Austin Brown, Stupid which campaigns against falling as we wanted them to, these For MPC For The Quarry Once the award happened, we Lead Flame: Thibault Debaveye Melissa Muerta European short-haul flights – each computer-generated puppets were Producer: Scott Griffin Editor: Adam Spivey For GSD&M Idea City proceeded with a previs as well Flame: John Shirley Trackers: Joanna Goslicka, of which produces 400 kg of overlaid with hand animation to VFX super: Jake Mengers Ex CD: Mark Taylor For Factory as additional sketches and style Flame assistant: Colin Cromwell carbon (the weight of an average allow us to refine their anatomy, 3D VFX: Vicky Osborn, Group CDs: Tom Gilmore, Audio post-production: frames. Marcelo Pasqualino GFX: Chad Howitt, Joseph Chan female polar bear) per passenger. tweaking subtleties to make their Ahmed Gharraph, James Bailey, Rich Tlapek Anthony Moore Lead desktop compositor: Particles: Keil Gnebba movements more believable and Kieran Belshaw, Georgios “The spot is almost all CG. The AD: Christopher Colton MPC created the CG bears using Lane Jolly 3D lead: Mike Dalzell, using nCloth simulation to make Chevourim, Richard Clegg, For 750mph only things that are real are the Writer: Travis Waid proprietary tools: PAPI which Previs: Joe Jones, Tony Vela Andrew Romatz the flesh wobble on impact.” Andreas Graichen, Mark Harrison, Audio post-production: actors and the practical things EP: Monique Veillette simulates falling and collisions Modelers: Andy Kim, Wendy Klein, Environment: Stefano Dubay Alex Kim, Adam Leary, Andy Humphreys they interact with like the ground Producer: Aaron Kovan and Furtility for fur grooming and For Rattling Stick Sean Durnan, Matt Berenty, Jorge Montiel, Tom O’Flaherty, and the tree trunk. Everything else For Beast Editorial motion. Director: Daniel Kleinman Toolkit For MJZ, Los Angeles Clay Osmus Wayne Simmons, Stephen was blue screen with hundreds Editor: Paul Norling Producer: Johnnie Frankel Maya, Shake, PAPI, Furtility, nCloth Producer: Paul Manix Rigger: John Riggs Jake Mengers, VFX super at Murphy, Christoph Schinko of tracking markers all over the MPC: “The sequence used 2D VFX: Suzanne Jandu, Kelly place. The opening of the spot is Director: Phil Joanou Animators: Joon Lee, Music: Singing Serpent Colin Cromwell, Yvain Gnabro computer-generated ‘rag dolls’ Bruce, Steve Davis, entirely CG. Toolkit Texture: Andy Kim, Wendy Klein, which emulate the actual skeletal Greg Howe-Davies, Alasdair Flame, Maya, Nuke, Photoshop, structure of bears. Once they were McNeill, Stephen Newbold boujou stash 64.08 stash 64.09

MNET “Magic Studios” “Cartoon Network TVC :60 Reface” Broadcast design 1:03 Agency: look, but also adhere to the arrow ORIJIN Client: hierarchy already established. Turner UK Directors: “We also had to find unique ways Craig Parker Director: of animating each direction. For Matthew Stephen Alan Bibby example, the biggest challenge for Production: Production: the action and sci-fi IDs was getting ORIJIN Stardust Studios all the ridiculous fun stuff to work together and flow on a path that had VFX: Animation/VFX: its own gravity. We developed a rig ORIJIN Stardust Studios setup that allowed us to animate www.orijin.co.za www.stardust.tv freely in that direction but then we Craig Parker, co-director/VFX Stardust bolsters their relationship could distort and control that along post producer with South African with Cartoon Network with these four the twisting path, while still matching broadcast design specialists refresh clips seen all over Europe. the key frames we’d created.” ORIJIN: “The brief was to position Mike Eastwood, EP at Stardust in Schedule: six weeks for production. MNET as South Africa’s premier New York: “Conceptually the brief For Stardust Studios TV channel by enhancing the was tied down to the ‘stream’ device Director/CD: Alan Bibby brand tag line ‘Where Magic Lives.’ (a super energetic collection of EP: Mike Eastwood everything CN-related), but as far as “The biggest technical challenge HOP: Eve Ehrich the look, we had a lot of freedom. was working out the camera “After 3D tracking all the footage For ORIJIN Producer: Ryan McRee Cartoon Network has a broad angles and moves to match the from full HD resolution, countless Directors: Craig Parker, AD: Aaron Maurer audience and shows many genres stock material. Pre-production was time was spent rotoscoping Matthew Stephen Designers: Aaron Maurer, of programming. So we had to think meticulous and the choice to use the stock footage and the Producer: Leon Schoeman Rob Modini, Tae Kim carefully about how the concept motion-control for the shoot was shot material for compositing. 3D animation: Cary Janks, Sound design: Juice Audio Design would play out for boys, girls, live- imperative. We only had a day to Additional 3D models were built, Ryan O’Phelan, Weichieh Yu action, comedy and action. shoot everything which included textured and animated to work Toolkit Compositors/animators: 30 costume and makeup changes, seamlessly with all the footage.” Cinema 4D, SynthEyes, “As we were exploring potential Fabian Tejada, Tonya Smay the use of countless props, as Schedule: One month for pre-pro Photoshop, After Effects designs, we had to find concepts Editor: Andrew Borin well as 40 passes that required and shoot, three months of post. that represented the genre or season additional lighting changes with Toolkit Watch Behind the Scenes on in an interesting way and also tied each take. Adobe Creative Suite, Maya the DVD. back to the stream concept. Each of the spots had to have its own stash 64.10.A stash 64.10.B stash 64.11

Canal + “Thread”, Xcèntric “BT Vision Christmas” “Organic_Technic”, Event titles 2:00 Broadcast design :15 “Bones”, “Tendon” Broadcast design x 4 Directors: Director: Director: Mike Alderson Dvein Dvein Tim Swift Animation: Animation: Animation: Dvein Dvein ManvsMachine www.dvein.com www.dvein.com www.manvsmachine.co.uk “Canal+, a Spanish cable TV “Xcèntric is an organization that London’s ManvsMachine bust channel, contacted us to make pursues the conservation and open a mess of Christmas spirit the new image redesign for 2009. distribution of experimental cinema in the seasonal brand package They wanted to go in the same through the CCCB in Barcelona. for UK on-demand television direction they did last year, and They organized an exhibition of service BT Vision. The look will the basic briefing was to end with Spanish experimental cinema be used across the network, from the logo, in a white space and called ‘From Ecstasy to Rapture/ stand-alone idents to navigational whatever happens should happen 50 years of the ‘other’ Spanish devices and print elements. with the logo. We created four cinema’. They invited us to create “The main creative challenge was aesthetical IDs for the channel.” and participate in the exhibition to design a fresh and spontaneous making the headers for each Toolkit festive package that side-stepped section of the exhibition. We After Effects, 3ds Max, Real Flow, the usual Christmas clichés, created six pieces where we have Photoshop without losing the essence of reinterpreted the spirit of great the BT Vision brand. This was For BT Vision Spanish filmmakers such as Val achieved by using the horizontal Client: Andrew Maddox Del Omar, Ivan Zulueta or Antoni color bars (of the existing BT Vision For ManvsMachine Padrós. The exhibition will be branding) as a starting point, but Design/direction: shown in museums all around the then freeing them into 3D space Mike Alderson, Tim Swift world.” and discarding any physical rules Lead animator: or restrictions. Toolkit Jonny “The Boy” Noorlander After Effects, 3ds Max, Photoshop “The ID was animated in Maya Animator: Richard C Thomas using a combination of nCloth Sound design: Ben Lucas Boysen dynamics and lots of cleverly placed keyframes. Rendered out Toolkit of Maya using mental ray and Maya, mental ray, Adobe Creative finally composited and graded Suite, Shake. nCloth MvsM style in After Effects.” stash 64.12 stash 64.13

Broad.cat 09 N.A.S.A. feat. Kool Keith Title sequence 1:34 & Tom Waits “Spacious Thoughts” Music video 4:32 Client: Broad.cat / ADG-FAD Record label: Director: Anti-records and Lucas Borras Spectrophonic Sound became like second nature. I Animation: think if you have decent hand- Director: WeMake drawn animation skills, then it Fluorescent Hill www.wemake.org transfers over pretty quickly. It Production: just took awhile to get the menus Brooklyn-based director/ Fluorescent Hill and shortcuts down. But most animator Lucas Borras conjures a SqueakEClean animation software is pretty homemade aesthetic tracing over intuitive.” 3D frames by hand for the opening Animation: titles of the Broad.cat 09 design Fluorescent Hill For SqueakEClean Productions festival held in his hometown of lot of late nights. It is my first cel www.fluorescenthill.com CD: Syd Garon Barcelona. animation piece; I feel very happy EP: Susan Applegate with the result.” The latest animated opus from “They gave me total creative N.A.S.A.’s “Spirit of Apollo” For Fluorescent Hill freedom to create a new world. Watch Behind the Scenes on album comes from the fertile Animation: Mark Lomond, Johanne Trying to surprise the audience the DVD minds of Montreal directing team Ste-Marie, Jacques Khouri was my first goal and keep them For WeMake Fluorescent Hill (Mark Lomond and Modeler/rigger: Jacques Khouri in a constant worrying moment Johanne Ste-Marie). “The brief was Concept/direction: Lucas Borras Toolkit during the whole piece. Illustration: Lucas Borras, Carlota very simple: They wanted it to have a bit of a darker tone in feeling, Photoshop, After Effects, “We had to draw more than 850 Santamaria Premiere, Flash, Maya CG design: Kevin Couture, not necessarily in look – that was frames and after that, scan, clean it. You can’t ask for a better brief. and color them. Because the team Arvid Volz Animation/composition: Pretty much anything we came up was really small, this process was with they were cool with. slow and took us three months. Lucas Borras The project didn’t have any budget Audio: FlowAudio “Learning 3D was by far the and I had to share my time with Special thanks: biggest hurdle. We hadn’t really other projects while I was working Carlota Santamaria done a full-on 3D or CG character in NY at Buck. At the end the real Toolkit before so there was a big learning schedule was reduced to a month Photoshop, After Effects, Cinema curve. But we plugged away at so we had to work fast and a 4D, Maya, paper, markers it day in and day out, until it just Enter code: 64DPSSF1 at: www.stashmedia.tv/promo to SAVE 25% 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. stash 64.14 stash 64.15

“Going West” “PRESS +” TVC/cinema/viral 2:03 Short film 1:26

Client: Director: Colenso BBDO for The New Benjamin Ducroz Zealand Book Council Animation: Director: Benjamin Ducroz Andersen M Studio www.ducroz.com Animation: Director/animator Benjamin Ducroz Andersen M Studio is based in Melbourne, Australia: www.andersenm.com “Overall I had about 30 shapes I had drawn by hand and on the An extract from the Maurice Gee’s computer. Each shape was made novel Going West transforms to have a beginning and an end, paper into narrative in this intricate starting from nothing and ending film seen in theaters and on TV on nothing, so I could join them in New Zealand. Martin and Line in a modular fashion. Those that Andersen, CDs at Andersen M For Andersen M Studio I drew by hand I then made on Studio in London: “All we were the computer. This was a lengthy given was the voiceover. The entire Design/animation: Line Andersen Photography/lighting: Martin process, but was fun as it was a film is handmade, using only 10A labor of love. scalpel blades and lots of paper. Andersen It was photographed on 2 SLR For Instrument Studio “The challenge was to select cameras and lit using Dedo lights, Sound design: Mikkel H. Eriksen which shape went after the next then edited using Final Cut Pro. in a seamless and progressive The piece was not story boarded Toolkit manner. All 1,970 frames were so it was hit and miss with the “The main technical challenges Final Cut Pro, 10A scalpel blades, printed – there were four frames to modified frames, sometimes it were all the handmade aspects of paper, Pro Tools an A4 page, so I had 493 pages, worked sometimes it didn’t. It was the production, such as cutting the which I scanned by hand into the a kind of organized chaos in the paper to the right speed and often computer. I made a clean first pass end, but rewarding.” Schedule: moving many objects at once. It of un-tampered paper, selected seven months spread out between was a real challenge to design an frames where I wanted the paper paying gigs. accurate time plan that would fit to be modified, then altered the Sound: Samuel Acres the narration precisely.” Schedule: paper with paint, water, ink, ripping eight months. and scrunching, and re-scanned Toolkit these frames. Cinema 4D, After Effects stash 52.16 stash 52.17

“Love Bomb” “SKINLINES” Short film series pilot 1:03 Short film 3:45

Director: Client: Freestyle Collective m-box bewegtbild Animation: Directors: Freestyle Collective m-box bewegtbild www.freestylecollective.com MONKEYMEN.INT The first taste of what Freestyle Animation/VFX: Collective CD Victor Newman MONKEYMEN.INT foresees as “a series of insane www.monkeymen.tv story scenarios and compelling The Berlin directing and animation characters that will create anarchy collective known as Monkeymen in cities all over the world.” slam together digital 2D and 3D “Because we were our own client, animation with motion capture the creative challenge was to and RED 4K live action to create exceed our own expectations. This a swirling, havoc-filled personal project was a great opportunity project they describe as “trying to push the boundaries of our to do something unique with For MONKEYMEN.INT illustrative skills. The technical common tools.” Team members: Carl Albrecht, Kai Dietrich, Wanja Glöckler, challenge was to seamlessly “Most of our DNA code has no Michaela Göllner, Jan Goldfuss, integrate the illustrated 2D profound biological function. Judith Holzer, Armin Keplinger, characters with the 3D city Therefore a world which hasn’t Veith Michel, Johannes Pflaume, environment. We spent a lot of yet been fully decoded slumbers Martin Retschitzegger, Marcel time making sure the 3D city had quietly under our human skin. Schobel, Stefan Tschackert, an illustrated look and feel.” SKINLINES crosses that thin line Martin Wellens Watch Behind the Scenes on For Freestyle Collective Lead compositor/animator: between an inner perception Cast: Christophe Linéré the DVD. CD: Victor M Newman Damien Cho and an outer world, and shows a ADs: Andres Rivera, Damien Cho DOP: Volker Mai For Buttons Sound Inc. human caught in a metamorphosis Character designs/illustrations: Sound design: Rich Macar immersed in the light refracted Music/sound design: the skinless Edward Chow through a fine prism.” Schedule: brothers 3D development: Andres Rivera For Toolkit eleven months between paying 3D: Entae Kim, Geoffrey Chin, Illustrator, Photoshop, After projects. Toolkit Zsolt Derka, Chris Kujawa, Effects, Maya Final Cut, Maya, Fusion, After Ekene Nwokeke, Victor Robeiri Effects, Movimento, Photoshop stash 64.18 stash 64.19 “Urban Tree” Nokia “Focus Group” Short film 8:41 Viral 2:36 Director: Vali Chincisan Agency: Animation: Jack Morton Worldwide Vali Chincisan Director: Romanian artist Vali Chincisan David Masters has found considerable success VFX: on the festival circuit with this The Mill ambitious and mesmerizing short www.the-mill.com supported by a soundtrack from experimental duo Makunouchi The Mill CG team of Fabrice Bento. Vali Chincisan: “The Le Nezet, Francois Roisin and animation Urban Tree launches Jules Janaud (aka the directing For Jack Morton Worldwide the idea of an endless replication collective Bif) bring their singular Creative/director: David Masters of a unique element. It is about the talent for comic VFX mayhem to Producer: Michael Richards universal stereotypy at the level this viral for the Nokia N900 mobile Original concept: Matt McConaghy of an industry based on routine. computer. Luke Colson, head of DOP: Adam Hall The impression left by this kind Mill Studio: “To say this project of approach to reality is one of was very ambitious would be a For The Mill an electronic poetry, of a self fax total understatement. Asking us to Producer: Luke Colson machine.” transform a human into a phone After Effects: Henry Foreman whilst turning into 40 objects along Shake/nuke: Rod Norman Watch Behind the Scenes on the way was always going to be Final cut editor: James Mortner the DVD. incredibly challenging.” Schedule: 3D super: Francois Roisin, For Makunouchi Bento three weeks Fabrice Le Nezet, Jules Janaud Sound: Felix Petrescu, 3D: Francois Roisin, Fabrice Le Valentin Toma Nezet, Jules Janaud Toolkit For Bravo Post Production Flash, Flashants, Final Cut Editor: Brian Dowd Sound production: Fitzrovia Post Production Toolkit XSI, Nuke stash 64.20 stash 64.21

Wicked Energy Drink Alfa Romeo Mi “Escape” “Pole Dancing Geisha” Branded film 1:25 TVC :60 Client: Director: P&N Beverages Andy Martin Agency: Production: 7, 9, 11 Strange Beast Director: Animation: Tim Dyroff Andy Martin www.andymartin.info who looks after ‘number one’ Production: above everything else. Resolution Design Strange Beast director/animator Andy Martin creates the visuals “The music needed to be fast Animation/VFX: and the music in this branded bit paced, hectic and driving. I fiddled Resolution Design of fun to launch the Alfa Romeo about with my guitar on the loud www.resolutiondesign.com.au Mi sports car. “I needed to get setting until I found the right kind of Sydney design and VFX studio across the idea of speed and riff. I created a drum loop and built Resolution wrangle several skin- freedom, so a chase involving a it up from there. based fantasies to help launch the break from prison seemed to fit “The project took about four Wicked brand into the crowded the bill perfectly. This allowed me weeks to make with a disrupting energy drink category. to create frenetic excitement to gap of a week while I moved “Wicked’s bottle design features fit with the car and also design house and had to reassemble my a dragon tattoo designed by several scary creatures/characters office space. I locked myself away renowned Sydney tattoo artist, to chase my prisoner who I wanted after that and speed-animated. Kian Forreal. The idea was to to appear scrawny but nasty and The music took about a day to make iconic tattoo designs come compose and record and then to life and cause a chain reaction working around the clock and For Resolution Design Artistic consultant/illustrator: another day after the animation of wickedness on a guy’s body occasionally sleeping under the Director: Tim Dyroff Mr Perso was finished to add sound effects thanks to a drop of Wicked.” desks. AD: Sharon Little DOP: Hugh Miller and mix it.” Copy: Mel Coenen-Eyre For P&N Beverages For Supersonic All other artwork was designed Producer: Will Alexander Watch Behind the Scenes on Marketing services manager: Music composer: Jono Ma by infamous Sydney graffiti artist Lead compositor: Lisha Tan the DVD. Harris Spyrou Mr Perso. The labor-intensive Compositors: Victor Norman, Toolkit Toolkit commercial was in production For 7, 9, 11 Neil Montieth Maya, Combustion, After Effects, Photoshop, After Effects, paper, for over four months with a team Producer: Julia Jackson Head of 3D: Max McMullin Final Cut temperamental printer, scissors, of compositors and 3D artists 3D: Chris Harris digital camera stash 64.22 stash 64.23

Stripes for Stamps Sempre Livre Teen “Children’s Stamps 2009” “Explore” Viral 2:02 TVC :30 Client: Client: The Children’s Stamp Johnson&Johnson Brasil Director: Agency: Paul Postma Samurai Animation: Directors: Postma Graphics & Motion Luciana Eguti www.motiondesign.nl Paulo Muppet Amsterdam designer and Production: director Paul Postma teases the Birdo illustrations of Christian Borstlap Animation: into life to stimulate online stamp Birdo sales for a Dutch charity focused www.birdo.com.br on children’s education. Directors Paulo Muppet and “The challenge was to make the Luciana Eguti of Birdo in São stamps come alive, give them Paulo have created what many a character, complimenting once thought impossible: a fun Borstlap’s illustrations with a and watchable feminine playfully restrained animation style, protection spot. “We had to create the story and also proved tricky, and it was up For Birdo letting their personalities shine. write the script of the film from to the acting of the girl to make Direction: Luciana Eguti, “The concept of the campaign scratch but some things were us understand this invisible Paulo Muppet For Postma Graphics & Motion was that the teenage years are clear right from the start: The geography. The biggest challenge Animators: Paulo Muppet, Director/animator: Paul Postma when a girl finds out who she background would be white and of them all though was making Pedro Eboli, William Iamazi Ferro, wants to be – her life is a blank Illustrations: Christian Bortslap each experience the girl went everything fit in just two weeks of Bruno Hamzagic, Luciana Eguti sheet of paper which she fills with through would pop a new icon on production. We are proud to say Assistant animators: Bruna Brito, Toolkit personal experiences. The product top of her head. this is probably the first sanitary Gustavo Teixeira, Ana Rocha After Effects, Illustrator, Cinema 4D helps the girl to feel safe for this napkin commercial completely free Compositing: Luciana Eguti exploration. The agency needed a “Because the film is a single take of blue liquids.” Sound design: Cromo.Sonica film that had a lot of appeal for the of 30 seconds, timing the events Composer: Luis Bergmann demographic and that could show and making sure everything was For Samurai Voice: Luiza Caspary this process in a meaningful way in sync in the animation was a CD: Marcos Skuropat and thus opted for animation. challenge. Conveying a sense of PM: Camila Alvarenga Toolkit space within a white background Adobe CS3, Flash, After Effects stash 64.24 stash 64.25

City Harvest “Apples” raw footage was slightly distorted For Draftfcb New York “The Father” PSA :30 – regular tracking software could COO: Michael Simons Short film / music video 3:02 not work. The rig was designed ECD: Keith Loell Agency: to clearly show the iPhone’s exact Sr copy: Greg Wikoff Director: Draftfcb New York position and orientation in 3D space. Sr AD: Todd Eisner FLA It had multiple LED lights attached Jr AD: Brad Muramoto Directors: Production: to make the tracking points clearly Sr producer: Liz Haberman Angus Kneale Sticky Monster Lab Yann Mabille visible in the subdued light. The rigging simplified 80 percent of the For The Mill NY Animation/VFX: Production: work, but a lot of fine-tuning was Directors: Angus Kneale, Yann Sticky Monster Lab The Mill NY done by hand, sometimes frame Mabille www.stickymonsterlab.com Producer: Dan Roberts VFX: by frame. The subway platform and Originally produced as a short light conditions were captured in Line producer: Richard Schwab The Mill NY Editors: Angus Kneale, Yann film by Seoul animation studio www.the-mill.com 360-degree scans with a Spheron Sticky Monster Lab, The Father camera; the data was then used to Mabille, Vincent Baertsoen Shot in one day entirely on an has since been adopted as the construct a virtual environment to CD: Angus Kneale iPhone, this PSA for City Harvest official video for the “Dientes” be composited into the original live Joint head of 3D: Yann Mabille Food Rescue Organization was track from Korean band The Black action footage. VFX super: Vincent Baertsoen directed, produced and finished by Producer: Dan Roberts Skirts. Director FLA: “This movie The Mill NY who also had to build “It was important to work at the Lead 3D: Vincent Baertsoen explains the relationship between a custom rig for tracking for the native resolution of the iPhone and 3D: Naotaka Minami people who stay very close but iPhone’s movements. match the codec compression Lead Flame: Cole Schreiber don’t understand each other. Also artifacts. We carefully integrated the Flame assist: Gigi Ng it borrows the comic book format Co-director/co-editor and The Mill’s apples into the footage by emulating Combustion: Melissa Graff to show the two situations in one CD Angus Kneale: “It would have the dynamic range and white Still photographer: James scene. Left and right page express been impossible to track the iPhone balance of the iPhone, ultimately Studdart, Alex Maxwell different places at once or different camera without the rig. We had to For Sticky Monster Lab color matching the apples. Subtle behaviors in one place. re-create a motion capture setup For Sound Lounge Director: FLA details were added such as green in the station. On set, we looked Sound design/mixers: Evan “Because we have a plan to make Scenario/editor/3D: FLA color spill, shadows and reflections. at places we could put cameras Mangiamele, Philip Loeb this film as a book, we bought 2D: FLA, Joe The dynamic auto exposure and determined how we could EP: Gloria Pitagorsky same paper samples and used Designers: FLA, BOO changes of the iPhone also had to triangulate the rig. We used three them as a 3D mapping source. In Line producer: NANA be matched. The tracking was given Toolkit Canon 5D Mark 2 static cameras the comic book, every character one last tweak in Flame locking the XSI, 3D Equalizer, Shake, Flame, Music: The Black Skirts “Dientes” to record everything in sync is animated by 3D and the plug-in CGI into the live action.” Schedule: Combustion simultaneously. is used for line effect. We spent Toolkit three weeks. lots of time to tune the music with 3ds Max, After Effects “Due to the rolling shutter from the pages turning and the rhythm of CMOS sensor in the iPhone, the the characters acting.” stash 64.26 stash 64.27

“FlapFlap” “Kanizsa Hill” Short film 1:35 Short film 7:30

Directors: School: Tom Weber CalArts Ilija Brunck Director: Jan Bitzer Evelyn Lee Production/school: Animation/VFX: Filmakademie BW Evelyn Lee Animation: www.iamevelynlee.com Polynoid Los Angeles filmmaker/director/ www.polynoid.org designer/animator Evelyn Lee Ilija Brunck, co-director at explores themes of duality and German digital collective Polynoid: balance in her experimental but “FlapFlap is part of Tom Weber’s light-hearted MFA thesis film – a thesis at Filmakademie BW – he critical hit on the festival tour. came up with the storyboard and pitched the idea to the rest of “The story itself was pretty simple us. Since the story is very simple and linear, but the structure and it’s one shot, we decided to and devices are complex. The produce everything as detailed as concept of duality is portrayed in possible. the two storylines: There is the relationship between the head, “From an animation point of view body, and tree, and then there is the hardest task was to define reactions of the demon. It took ground deformation.” Schedule: the relationship between the dots, the exact action and the timing many different versions to balance four months. lines, and Kanizsa figures (the dots those elements the right way. of it. Normally the shot layout is For Polynoid missing a wedge that suggest a the strongest factor to lead the “One of the bigger challenges was Directors: Tom Weber, Ilija Brunck, triangle). Understanding these two done stop motion or pixilation and unstable so that it contrasted Sound design: Kari Rae Seekins eye of the viewer and tell him the characters’ interaction with Jan Bitzer storylines and also how they relate before. There was definitely a lot of enough from the head but was Sound mix: Jerry Summers where to look, but in this case the ground and with it came the Producer: Sinje Gebauer to each other was the creative experimentation in the beginning still similar enough.” Schedule: 1.5 Cast: Antonio Anagaran, Dominic the viewer had to be led only by first production usage of the ICE Sound: Ilija Brunck, Jan Bitzer challenge in writing the script. with happy accidents. Then years for script/boards/animatic/ Bisignano, Musa Brooker, Kari Rae the on-screen action: the order visual programming environment Visually, it became about the treatment of the body ended up design; one year for design/ Seekins, Greg Curtis, EB Brooks, Toolkit and character of the crap balls implemented in XSI. We had to concept of balancing this duality. taking a long time: I treated each animation/VFX. Aubrey Laufer, Kate Eloise Mallor hitting the ground; the intensity XSI, Fusion frame in Photoshop because I create some particle systems and Toolkit of the bird’s movement; and the “How to shoot the body was a wanted to keep the look drawn Written/directed/animated: point deformation tools for the challenge because I had never Evelyn Lee Photoshop, After Effects stash 64.28

“The Lighthouse Keeper” Short film 3:15

School: minutes and make sure everything Gobelins, l’École de is understood and felt. And, l’Image technically, to find a solution to Directors/animation: animate the light, in the lighthouse Gaëlle Thierry and on the character. Ront Hotin Baptiste Rogron “Many spectators thought the Maïlys Vallade two characters of the film were Jérémie Moreau sometimes in 3D. The answer is David François no. They are from the beginning http://gaellethierry.blogspot.com to the end in 2D. Only the boat http://ronyhotin.blogspot.com and the lamp of the lighthouse are http://rogronbaptiste.blogspot.com in 3D (all the backgrounds, the http://mailysvallade.blogspot.com lighthouse, are in 2D). http://mor-row.blogspot.com “We wanted to keep a very Six students from the Gobelins traditional brush; we worked light school in France create an and shadow on the character engaging play of light and image by image. There was suspense with a labor-intensive nothing automatic in making the combination of 2D and 3D. color. TVP allowed us to realize what seemed to us impossible.” Co-director Maïlys Vallade, “We had to realize a film with a Music: Romain Gauthier duration of minimum one minute Toolkit in a production period of five TVP, Photoshop, After Effect, months. The film had to contain Maya, Premiere approximately two main characters and a place. “The main challenges were to have a good story board because we had little time to make it. And manage to realize our story in three stash 63 BONUS FILMS: MUSIC VIDEO MINI-FEST 3

The Tom Fun Orchestra Izza Kizza “Ooh La La” Air “Sing Sang Sung” “Ljósið” Soldout “The Cut” Holy Fuck “Royal Gregory” SoKo “I´ll Kill Her” “Bottom of the River” Music video 3:15 Music video 3:06 Music video 3:30 Music video 2:40 Music video 3:00 Music video 3:55 Music video 3:07 Record label: Agency: Record label: Client: Record label: For Premiere Heure Record label: School: Company House Records Decon Virgin/EMI Tapes Records Anorak Supersport Producer: Constance Guillou Dependent Music University of Applied Directors: Director: Director: Producer: Directors: Director: Boris Coyere Director: Sciences Mainz Alasdair Brotherston Yoram Benz Mrzyk & Moriceau Studio Freak Romain Chassaing Toolkit Mina Song Director/animation: Jock Mooney Animation/VFX: Animation: Director/animation: Boris Coyere After Effects, Flame, 3ds Max Animation: Jörg Barton Production/animation: Yoram Benz Mathematic Esteban Diácono Production: Mirrorshade www.joerg-barton.com Trunk Animation www.yorambenz.com www.mathematic.tv www.estebandiacono.tv Premiere Heure www.mirrorshade.tv Concept/design/3d/2d/ www.trunk.me.uk “Because of a typo on the For El Nino “With Trapcode Soundkeys, the Animation/VFX: “The track gave us an immediate compositing: Jörg Barton For Trunk Animation project file name, the AE folder Director: Mrzyk & Moriceau piano and the violin parts became SoLab visual idea of retro tournament/ 3D modeling: Jörg Barton, Sascha Directors: Alasdair Brotherston, containing EVERYTHING was Producer: Jules Dieng audio-synched keyframes that www.solab.fr competition game graphics. We Loch Jock Mooney accidentally trashed (and trash transformed Trapcode Particular then wanted to introduce full-on Camera: Jörg Barton, Natalia Toolkit For SoLab emptied) when the video had particules into a symphony of strong colors to create something Blanco Producer: Richard Barnett After Effects Director: Romain Chassaing just been completed. After trying water inked / smokey exploding simple but intense. Narrative had Light: Natalia Blanco, Jörg Barton 2D animation: Anna Benner, Producers: Nicolas Tiry, Edouard every single file recovery software colors.” to be straightforward for the visual Actors: Irene Martinez, Tobias Timothy McCourt, Alasdair Chassaing out there without any success, I style to be more abstract and Ulbrich, Florian Bauer, Fernando Brotherston Toolkit DoP: Renaud Chassaing used File Salvage and was able minimal. Having created that style Vivas, Renate Barton, Rudolf 3D animation: Patrick Krafft After Effects, Trapcode After Effects: Boris Coyere, to retrieve about 80 percent of in animation, we had to simplify Barton, Dorith Müller, Rafaela Compositing: Andy Hague Emmanuel Moulun, Stéphane Müller, Ferdinand Geier the video and delivered it on Kouchian, Mathieu Guéret the camera work, lighting and the Toolkit time. Schedule was six weeks to 3D: Aristide Ambert, Jérome movements of the characters.” Toolkit Flash, 3DS Max, After Effects complete with only one motion Richoux, Nixx Commissioner: Melissa Greiner After Effects, Illustrator, designer/designer (myself).” Flame: Benjamin Ravalec, Photoshop, Cinema 4d Toolkit Yann Masson Toolkit Photoshop, Illustrator, After Effects After Effects, Cinema 4D, Photoshop Enter code: 64OBCSF1 at: www.stashmedia.tv/promo to SAVE 25%

Here’s your chance to own 30 extraordinary short films by Stash SHORT FILMS 1 delivers an international program of today’s most innovative directors – over two-and-a-half hours of festival hits and little-known gems PLUS behind the scenes sheer entertainment from Stash DVD Magazine. extras and a 40-page book of stills, credits, production notes and links for every project. www.stashmedia.tv/SF1