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Atlanta Motion Graphics Festival 2009 July 2-5 Despite everything – including the economy and how it has affected the media world – I’m an optimist. Not a rose-colored glasses, head-in- stash the-sand, everything-happens-for-the-best kind of smiley face, but I do DVD MAGAZINE 57 instinctively look for the opportunities hidden in problems and crises. Stash Media Inc. Editor: Stephen Price In her 2007 book The Shock Doctrine: The Rise of Disaster Capitalism, Publisher: Greg robins Naomi Klein demonstrates how large corporate interests take advantage of crises – natural or man-made – to ram through unpopular policies or Managing editor: HEATHER GRIEVE simply rape and pillage. She quotes legendary American economist and Associate publisher: privatization advocate Milton Freedman as admitting, “Only a crisis, real MARILEE BOITSON or perceived produces real change.” Associate editor: ABBEY KERR Account managers: APRIL HARVEY, By Klein’s own admission the parade of evidence in her book is CHRISTINE STEAD depressing – the exploitation of Iraq after the war, New Orleans after Business development: Katrina, Thailand after the tsunami – powerful examples of how the public Pauline Thompson good and personal freedoms were severely compromised or completely destroyed in the wake of massive trauma. Preview/montage editor: HEATHER GRIEVE What is important to remember through all this is, objectively, the shock Preview opening animation: TANTRUM (and awe) of these events simply opened the door for change, any kind of Technical guidance: IAN HASKIN change. Why private, dispassionate, usually corrupt interests are, time Cover image: WIZZdesign and again, best at grasping these opportunities is up for debate. So here’s what I, the optimist, am getting at. The current economic crisis WWW.STASHMEDIA.TV has trickled down to create a shock in the animation and VFX world. Let’s ISSN 1712-5928 embrace it, let’s use the collective disorientation to implement important changes in the way we work and run our businesses. Legal things: Stash Magazine and Stash DVD are published 12 times per year by Stash The trick, of course, is to remember we’re the good guys and leave out Media Inc. All rights reserved and contents copyright Stash Media Inc. No part of this the raping and pillaging part. booklet nor the Stash DVD may be copied without express written permission from the publisher. Stash Media Inc. does not promote or endorse products, services or Stephen Price events advertised by third party advertisers. Editor Submissions: www.stashmedia.tv/submit Subscriptions: www.stashmedia.tv New York, March 2009 Contact: Stash Media Inc. [email protected] 494-1641 Lonsdale Avenue, North Vancouver, BC V7M 2J5 Canada. Curated in New York. Printed in Canada. stash 57.01

Philips Cinema 21:9 TV ““ Branded content 2:19

Agency: Tribal DDB, Amsterdam Director: Adam Berg Production: Stink Digital Stillking VFX: Stink Digital Redrum www.stinkdigital.tv www.redrumpost.se Director Adam Berg admits there as still as they possibly can when For Stink Digital For MPC was very little magic behind the we move past them. We cast EPs: Mark Pytlik, Daniel Colorist: Jean-Clement Soret multi-layered complexity of this these awesome Czech stunt guys Bergmann, Stephen Brierley trip through a moment of clown and dancers who had good body Producers: Simon Eakhurst, UK PM: Jemma Daniel infested chaos – the centerpiece control as our stars. We edited the Stephen Brierley Title sequence/trailer: of an interactive campaign to whole thing on set so that Redrum Director: Adam Berg Maximiliano Chanan, Odin Church promote the Philips CINEMA could start on the post right away.” DOP: Fredrik Backar For Trim 21:9 television. It started with half For Tribal DDB, Amsterdam For Stillking Editor: Paul Hardcastle a page of notes about clowns Global CD: Neil Dawson : Zuzana de Pagter robbing a hospital, progressed CD: Chris Baylis 1st AD: Jiri Ostry with Berg storyboarding as he Producers: Jeroen Jedeloo, : Petr Kunc went and working with Redrum Iwona Echt Czech production manager: post in Stockholm to do the previz AD: Mariota Essery, Jiri Kotlas while on location. “Shooting Andrew Ferguson happened over two long days in For Redrum Copy: Carla Madden, Chris Baylis Prague. I would like to say that we Post super: Richard Lyons Technical lead: came up with some spectacular Music/: Jan Willem Penterman new piece of equipment, but we Michael Fakesch didn’t. The are just standing Additional sound design: Tim Davis stash 57.02

Scrabble “Sumo”, “Hula”, “Yoga” TVCs :60 x 3 Client: For Ogilvy Paris Agency: Ex CD: Chris Garbutt Ogilvy Paris AD: Antoaneta Metchanovna Director: TV production: Laure Bayle, Clement Dozier Diane de Bretteville Irina Dakeva For WIZZdesign Production: Producer: François Brun WIZZdesign Artistic research: Animation: Guillaume Combes WIZZ Artists/illustrators: Maud Dardeau, www.wizz.fr Matthieu Javelle, Foggy Notion- Daniel Gotesson, Edik Katykhin Ogilvy leverages the Silver Lion Directors: Clement Dozier, they won at Cannes in 2007 for Irina Dakeva their Scrabble “Bravo les Mots” campaign into this vibrant and For WIZZ radical new pool of spots fed Post production director: by the work of Maud Dardeau Cédric Herbet, and Matthieu Javelle – from the Compositing: Matthieu Caulet artist collective Jeanspezial – 2D: Sebastien Filinger, Matthieu who hand drew and painted Wothke, Clement Soulmagnon, over fifty illustrations for each Gary Levesque, Corentin Rouge, of these clips. WIZZdesign set Philippe Valette, Elliot Kadjan up a custom in-house atelier to Music composers: Dana Edelman, accommodate the volume, then Mathieu Lafontaine, Jason Brando turned the source material over to Ciciola, Didier Tovels the directing team of Irina Dakeva Music editors: Mile23Music, and Clement Dosier to bring the Cendrineige illustrations to life. Images from Toolkit the spots will also be used in After Effects, Flash, Photoshop, print and online. Maya, 3ds Max stash 57.03

Carlton Natural Blonde “Future” TVC :30 Agency: Clemenger BBDO Director: Christopher Riggert VFX: Animal Logic www.animallogic.com To craft the ‘80s video-tech kitsch for this Carlton Natural Blonde spot, the effects team of Animal Logic researched motion graphics styles from sci-fi shows and infomercials of the era. The challenge for the team was making the 2D graphic backgrounds For Radical Media and effects in the ad look as Director: Christopher Riggert authentic as possible. Animal DOP: Danny Ruhlmann Logic compositor Colin Renshaw: Producer: Julianne Shelton “We wanted this spot to look like it was on a VHS loop in a shopping For Animal Logic center, playing for 20 years. We Post: Colin Renshaw ended up going back and using For Guillotine technology and techniques Editor: Stewart Reeves from 20 years ago to achieve this, settling on a combination For Level2 Music of simulated and practical Music: Karl Richter, Cornel Wilzeck destruction.” For Flagstaff For Clemenger BBDO Sound: Paul Le Couteur CD: Ant Keogh Toolkit Flame stash 57.04

California Milk Processor For Grupo Gallegos Board “Sad PrincesS”, Chief CD: Favio Ucedo “Medusa” Group CD: Juan Oubiña TVCs :30 x 2 Associate CDs: Saul Escobar, Curro Chozas Agency: Copy: Edgar Hernandez Grupo Gallegos Producer: Carlos Barciela Directors: For Psyop Marie Hyon, Marco Spier CDs: Marie Hyon, Marco Spier Animation: : Haejin Cho Psyop EP: Lucia Grillo www.psyop.tv Producer: Michael Neithardt Assist producer: Tarun Charaipotra Psyop CD Marco Spier: “When Lead 3D artist: Christian Bach telling a story in less than 30 3D artists: Florian Witzel, Jacob seconds, it is good to have a story Slutsky, Ted Kotsaftis, Jimmy and metaphors that are easy to Gass, Todd Akita, Jae Ham, David get. Our stories follow the fairytale Barosin, Alvin Bae, Tony Jung, formula: a princess finds a savior Dan Fine, Rie Ito, Jeff Lopez, Xuan to love and has a happily ever Seifert, Jonah Friedman, Jason after ending. Thank god for the Vega, Genessa Chamberlain brave prince because he is able to 3D : Jason Goodman, break the monthly curse and tame Michael Shin, Alejandro Castro unruly hair by bringing her the Holy After Effects: Jason Conradt, Grail that is the ‘product’ (ahh, Ted Kotsaftis, Fred Kim ). Designers: Gordon Waltho, We had a lot of fun coming up Anh Vu, Pete Sickbert-Bennett, with the possibilities of the Sad Jungeun Jaye Kim Princess’ wrath. And thinking artist: Ben Chan about how to transition from her Software developer: tender little tear drop to wreaking Andreas Gebhardt havoc on the town’s men, before Toolkit turning into a tumultuous ocean, all Maya, 3ds Max, Houdini, in 2.3 seconds.” After Effects stash 57.05

Mountain Dew “Modular”, Mountain Dew “Morphing” “Morphing” For Buck TVCs :15 x 2 CDs: Thomas Schmid, Orion Tait Producer: Erica Hirshfeld Client: Assistant producer: Kitty Dillard Pepsi-cola company : Kevin Hall Director: AD: Thomas Schmid buck Cel : Aaron Augenblick Animation: 3D animation director: Joshua BUCK Harvey www.buck.tv Technical director: Paul America Orion Tait, CD at Buck in NY: Illustrators: Josh Cochran, Thomas “Pepsi’s Mountain Dew brand Schmid team had seen some of the Cel character animation: network IDs we had done for Augenblick Studios Fuel TV – they were relaunching 3D animators: Joshua Harvey, Mountain Dew, with a new logo, David Soto, Adam Pearlman, and wanted some Morgan James, Jeff Su and :15 second ID-like spots that Cel animators: Pete McDonald, would speak to the brand and Joe Mullen introduce the new logo in a fun Compositors: Conrad Ostwald, and entertaining way. Emmet Dzieza Mountain Dew “Modular” Toolkit Designers: Ben Langsfeld, Yker “Based on the Fuel IDs, Dew For Buck Photoshop, After Effects, Final Cut Moreno felt we understood the tone and CD: Orion Tait Pro, Cinema 4D, Maya, Illustrator, Editor: Sam Goetz energy of their brand. They were HOP: Kate Treacy Flash Music composer: Adam completely open to technique Producer: Erica Hirshfeld For Pepsi-Cola Company Schlesinger and style but suggested some Prod coordinator: Kevin Hall EP: Barry Rosen Additional music arrangement: content themes based on their AD: Yker Moreno, Gareth O’Brien Director: Marisol Tamaro Jared Gustat touchstones and brand initiatives, : Jon Gorman, Conrad Senior manager: Brett O’Brien : Thomas Schmid and then sent us away to concept. Ostwald, Pete McDonald, Emmet Manager: Lisa Grey We opened the concepting phase Dzieza Toolkit For Cypher Audio to both our New York and LA Animation intern: Rob Wienk Photoshop, Flash, Illustrator, Maya, Music: John Black office. We presented around a Roto: David Marte, Will Frazier, After Effects, Final Cut Pro dozen concepts and these two got Carlos Rosario, Chris Riemann the green light for production.” Editor: Sam Goetz stash 57.06

X-Box “Rock Band”, “Lego Batman” TVCs :30 x 2

Agency: T.A.G Director: Daniel Askill Production: Radical LA Animation/VFX: Mill NY / LA www.the-mill.com The LA and NY offices of the Mill team up to portray the outer rapture and inner wonder caused by the XBOX 360 experience. All portrait shots were filmed in high speed with the Phantom HD camera. The action inside the viewers’ heads was constructed as highly detailed miniature dioramas For Radical LA Flame assist: Gavin Camp For Rock Paper Scissors and shot on a turntable rig. The Director: Daniel Askill Lead Flame (Lego Batman): Chris Editor: Adam Pertofsky dioramas were embellished with DP: Claudio Miranda Knight, Giles Cheetham Toolkit CG lights, fireworks and additional Producer: Kathy Rhodes Flame assist: Ross Goldstein Flame, Combustion, Smoke, Maya characters and then married to the Smoke: Tristian Wake For Mill NY & LA portrait plates in Flame. 3D producers: Kate Stenhouse, Producers: Bethan Thomas, Asher Edwards For T.A.G Kate Stenhouse 3D: Yann Mabille, Tomas Fontes Creative: Aramis Israel Telecine: Fergus McCall Salles, Wyatt Savarese, Joshua Producer: Joyce Chen VFX super: Richard De Carteret Merck, Emily Meger, Xavier Zahra, Lead flame (Rock Band): Erick Schiele, Shai Halfon, Justin Phil Crowe, Paul Kirsch, Zurrow, Mike Panov Jeanette Williford stash 57.07

Britain’s Forgotten Children TVC :60 Agency: 4Creative Director: Brett Foraker VFX: The Mill www.the-mill.com Sean Costelloe, producer at The Mill in London: “This spot about the shocking situation of many young people in the UK care system had to be visually very powerful, and in itself shocking, whilst at the same time have a sensitive touch and remain engaging throughout. As the actors were themselves children, there were limitations as to the For 4Creative types of rigs and tanks we could Director: Brett Foraker use to submerge them. Two AD: Joseph Ernst separate plates, shot on different Copy: Joseph Ernst days using a repeat head camera, Producer: Gwilym Gwillim were shot for each ‘sinking’ scene; these were then combined For The Mill together along with digital stills Producer: Sean Costelloe in Flame. One of the biggest Telecine: Aubrey Woodiwiss challenges? Only one week to Flame: Pete Rypstra, complete the post production!” Ian Richardson Assist: Adam Lambert, Jon Price Toolkit Baselight Telecine, Flame, Combustion stash 57.08

Samsung “New Species” TVC :30

Agency: Cheil Worldwide Director: Arvind Palep Production: 1st Ave Machine Animation/VFX: 1st Ave Machine www.1stavemachine.com The influential echoes of Arvind Palep’s groundbreaking 2005 “Sixes Last” video (Stash 13) rippled out in many directions, and occasionally bounce back, e.g. this stunner for Samsung. Palep: “This is the ultimate HD spot. We were after something challenging part of the project; we For 1st Ave Machine Compositors: Weito Chow, floral and tropical and beautiful achieved it by bringing together a Director: Arvind Palep Dorian West, Makoto Sato in every respect, all of which mysterious, yet familiar electronic EP: Serge Patzak Live action producer: demanded a high degree of detail glow with some extremely HOP: Hae-Sook Song Lee Scharfstein and realism. Rather than make a detailed plant life. Somehow, the Producer: Crystal Campbell Production super: typically high-tech and heavy 3D technological lighting enabled the Creative coordinator: Kathleen Handwerk spot, we borrowed elements from natural aesthetic to shine through Claire Mitchell Asst production super: the most vibrant and spectacular even more brightly.” Storyboard: Ilya Skorupsky, Lian DeMarais images we could find in the Nate Mulliken DOP: Mateo Londono For Cheil Worldwide natural world. The new species CG TD: Sam O’Hare, Production designer: Producer: Drew Lippman we created, seamlessly integrate Dan Gregoras Michael Shaw AD: Tom Kane LED technology with imagined CG: Jesse Holmes, Vlad Streltsov CD: Tom McManus Toolkit organisms. Character animator: Rob Dollase 3ds Max, RPManager, V-Ray, Editors: Eric Lin, Tim Malieckal, “Blending that LED look with PFTrack, Photoshop these living things was the most Ryan Beickert stash 57.09

F5 Titles Event titles 2:14

Director: Dvein Animation/VFX: Dvein www.dvein.com Dvein: “When we were invited to make the F5 titles we wanted it to have a real match with the eclectic spirit of the conference. The idea was to get the soul of the speakers into the titles in some way. We asked them for the names of five objects that inspire them or have anything to do with their work. “We received all kinds of answers, really interesting objects that could give us a starting point and translate it into our images: wind turbines, microscopes, lights, smoke, lamb rib cage, french bulldog, etc. The speakers didn’t know what their answers would be Music: Antfood used for, but they were the seed PA: Marco Antonio Ballesteros for the story. In this way, all the Actors: Rita (no-domain dogs), speakers have added their bit and Antenas (as the ant), Zombee there is not a unique author but a (as the bee), Maki (as the fish), multiple collaboration. Two weeks Fernando’s hand (as the hand) for concept/timing, 10 days for production (double full-time).” stash 57.10

MLB on FOX “The of Baseball” Promo package :30 Agency: For Fox Sports Design Fox Sports Design EVP marketing: Eric Markgraf Director: SVP/CD: Robert Gottlieb David Viau VP on-air promotions: Bill Battin CD: Blake Danforth Production: Producer: Keith Hritz Superfad Editor: Tom Hok Animation/VFX: Music/audio: Mic Brooling Superfad Audio: Jay Hayes www.superfad.com Flame: Thomas Downs Designer: Christian DeCastro The assignment from Fox Sports Design was to create a modular For Superfad broadcast package for the MLB on Ex CD: Will Hyde Fox that would allow for efficient CD: David Viau weekly updates while emphasizing CGI super: Dade Orgeron the beauty of baseball but avoiding 3D generalists: John Cherniack, overused sports clichés. Superfad Sarah Bocket, Matt , Cody responded by sourcing over 100 Smith, Phiphat Pinyosophon geographic data sets and building Compositors: Jance Allen, Sohee a library of 400 textures to recreate Sohn, Paulo Diaz 20 cities and their stadiums Editor: Charles Jenson complete with the exact brick and Sr producer: Chris Volckmann grass used in the actual venues. EP: Rob Sanborn Music: “Mistress Mable” by The Fratellis stash 57.11

New York Goes To Work Broadcast design :30 (Director’s Cut) Agency: VH1 – Viacom Director: Interspectacular Animation: Interpectacular www.interspectacular.com Interspectacular revs up VH1’s new reality show, New York Goes to Work, with character and illustrations by Tristan Eaton. Luis Blanco, CD, Interspectacular: “The first creative challenge was creating a caricature of Tiffany New York that not only captured her likeness but also expressed her personality. “The second challenge was telling an engaging story explaining the show’s premise. We decided to write the around three different job scenarios and then link them together with creative The main technical challenge was For VH1 – Viacom For Interpectacular transitions. This meant creating creating an animation that would SVP VH1 brand/creative: CDs: Luis Blanco, Michael Uman several scenarios and telling look rich and vibrant using very Phil Delbourgo Animation: Devin Clark a seamless story, which also little cell animation. The solution VH1 design director: Jim Fitzgerald Character design/illustrations: included a main title, all within was to use animation cycles and VP VH1 on-air graphics: Tristan Eaton 30 seconds. Part of the solution create cell animations at key Amanda Havey Original score/sound design: was to design the scenes so they moments that would make the Director VH1 on-air graphics: Ear Goo would read clearly and instantly. frame seem fully animated.” Dave Perry Toolkit After Effects, Flash, Illustrator stash 57.12

Seattle International Festival 2009 Cinema/TVC Agency: “DK sought to pay homage to one WongDoody of the oldest feature-length , Director: The Adventures of Prince Achmed, Digital Kitchen by German animator Lotte Reiniger, and also drew inspiration Animation: from the work of Jamie Caliri, Kara Digital Kitchen Walker, Kim Keever, and the Quay www.d-kitchen.com Brothers.” DK co-creative lead John Foreman Watch Behind the Scenes on says the studio built this trailer the DVD. and broadcast spot for the 2009 Seattle International Film Festival For WongDoody out of “acetate, paper cutouts and CDs: Tracy Wong, Mark Watson ferns. We created a small setup Copy: Janelle Erickson in our Seattle studio consisting of AD: Emily Honigsfeld two rear-illuminated light boxes For Digital Kitchen made of five panes of glass over EP: Mark Bashore top of a diffusion layer. Each layer Producer: Morgan Henry of glass had an element that CD: Matt Mulder was either animated frame by Co-creative leads: John Foreman, frame or was static to create the Brad Abrahams environment. Designers: Tim Howe, Jayne Vidheecharoen, “For example, a scene might have Nancy Zamierowski a layer of diffusion, a painted Design intern: Joe Garber layer, a layer of characters that Editor: Slavka Kolbel we could articulate, and a layer of Color correction: Ryan Gagnier organic materials, etc. that created PA: Steve Krause the environment. We mounted a Canon Rebel XSi over the Toolkit animation stands, and connected Photoshop, Illustrator, Dragon to a Mac Pro workstation running Stop-Motion, After Effects Dragon stop-motion software. stash 57.13

Greenpeace “Coalfinger” Viral 5:00

Client: Tellyjuice Productions Director: Niall Towl, Jason Attar Animation: Blue-Zoo www.blue-zoo.co.uk Greenpeace races down the parody path to highlight problems with the proposed coal power plant to be built in Kingsnorth, Kent and to encourage viewers to sign an online petition. Damian , CD at Blue-Zoo in London “The brief was kept fairly open allowing us to design all characters in house, but maintaining the style of Tony Trimmer’s illustrations, especially the backgrounds and converting them into a 3D environment, was a challenge. Another problem was creating custom 2D rigs for the characters that allowed us to maintain a high For Blue-Zoo Lighting/rendering: Andrea Toolkit quality of animation in a short four- CD: Damian Hook Kozakova, Tomas Woodbridge Maya, Photoshop, After Effects, week timeframe.” Design/storyboard: Tony Trimmer Compositing: Damian Hook Final Cut For Tellyjuice Productions Modelling/texturing: Tony Trimmer, Voice talents: David Mitchell, Directors/producers: Niall Towl, Damian Hook Brian Blessed Jason Attar Technical director: Sam Berry Music: David Arnold Writers: Niall Towl, Simon Fairhead Animation: Andrea Kozakova, Sounds/effects: Silk Sounds Tomas Woodbridge stash 57.14

“Parallelostory” 2:24

Directors: Kelly Meador Daniel Elwing Animation: Impactist www.impactist.com Portland-based directing duo Kelly Meador and Daniel Elwing are back with another elegant and enigmatic tale: “Parallelostory is a hand-crafted love story between two astronomers unfolding against the background of parallel universes. Simple compositions inside wide aspect ratios are a weakness of ours, so why not indulge from time to time? “Understanding of our universe and the idea of multiple universes seems to be popping up more and And, we’re married so that For Impactist more in contemporary culture. probably lets the sappiness seep Directors: Kelly Meador, We’ve always liked learning about into our work, smile! Additionally, Daniel Elwing these ideas and how they can the visual style of paper textures Audio: “Cup of Water Crying interact with regular everyday life. and a muted palette were so much (Multiverse Edit)” by Impactist Hence, the pairing of this with a fun on a prior project, we wanted a Toolkit small quasi-love story. Simple, but longer story to further explore the After Effects, Photoshop a relatable way to bring in these technique.” slightly abstract notions – like classic Twilight Zone episodes wrapping similarly grand ideas into easy to digest stories. Overdose on motion. In a good way.

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+ Hi-res PDF files of the • KEMADO RECORDS 40-page booklets for all six disks GRAB YOURS AT www.stashmedia.tv/collections stash 57.15

Man Man “Mister Jung Stuffed” Music video 2:31 Record label: ANTI-Records Directors/animators: Arthur Jones Zander Brimijoin byarthurjones.com Brooklyn-based director/animators Arthur Jones and Zander Brimijoin serve up the appropriate visual absurdity to wash down this track from Philadelphia’s experimental indie masters Man Man. The duo describe the clip as “a video about a troubled relationship that turns into a boat ride through hell. Co-director Arthur Jones: “The creative challenges were all about reigning ourselves in. We wanted it to be a big, funny, hairy ADD mess with a Mexican Wedding/ Day of the Dead ending. The initial storyboard was crazy. I had Directors/animators: so much stuff in it, it would have Arthur Jones, Zander Brimijoin been impossible to complete, Toolkit and Zander’s job was to cool me After Effects, Flash, Illustrator, down and simplify the mess. There Photoshop were a lot of conversations where Zander was like ‘Arthur, I love the talking hamburger but the purple wiener dog with 45 legs and the shark fin is a little over the top.’” Schedule: Six weeks. stash 57.16

Moray McLaren to be drawn and how many facets For Blinkink “We Got Time” each mirror should have, then Director/animator: David Wilson Music video 3:55 matching that to the speed of EP: Bart Yates the record players and the frame Producer: James Bretton Director: rate of the camera. A couple of DOP: Tim Green David Wilson shots we achieved the in-camera PM: Ellie Britton animation by syncing the frame ADs: Will Randall, Hattie Newman Production: rate of the RED camera to the 1st AD: Jerome Franc Blinkink speed of the record players. RED camera: Nick Allsop, Animation Jeff Brown “Once we’d figured out how to David Wilson Motion control operator: make the animations work, it Dennis Henry Post: was just a case of getting all the : Jon Mitchell The Mill animations done. It was amazing, : Robin Brigham www.the-mill.com however, being able to watch Spark/gaffer: Neil Blackman live-action animation rather than it Scottish singer-songwriter Moray Spark: Paul Allen being a slow painstaking process.” McLaren is on a roll: First he Actors: Will Harper, Gabriel Aronson lands Jonathan Shakhovskoy () Watch Behind the Scenes on For The Mill as a producer then scores this the DVD breakout video from UK director Producer: Matt Williams David Wilson. James Bretton, Production super: Mike Outlaw producer at Blinkink in London: “All Colorist: James Bamford the animations were achieved in Smoke: Robin McGloin camera and all were hand drawn, For TVC designed and animated by David Editor: Mark Aarons Wilson. We had five weeks to design and plan the entire project Toolkit and a two-day shoot. It was really RED camera, Final Cut important to not just rely on the technique to drive the promo – the animations had to make sense and form a story too. “The first hurdle was actually figuring out how to make the technique work – working out how many frames of animation needed stash 57.17

Call Of Duty: Modern Warfare 2 Game teaser 2:05

Client: Activision / Infinity Ward Live-action directors: Steven Lee, Jon Berkowitz Animation: The Ant Farm www.theantfarm.net Jon Berkowitz, head of motion graphics at The Ant Farm in LA: “We were approached by the Ant Farm Games department to create a graphics-driven teaser to premiere at the Game Developers Conference in San Francisco. We were provided a preliminary version of the audio bed of the airport scene and were asked to come up with some designs specifically geared to this type of audio-driven storyline. “Three weeks later, the designers “The hardest part, by far, was For The Ant Farm: For SonicPool presented their ideas and ensuring the images were revealed Concept/writing/ECD/EP: Sound design: Patrick Bird concepts internally; five were and formed by the audio line, Ant Farm Games Toolkit chosen and sent to the client. They rather than simply placed behind it. Graphics producers: After Effects, Cinema 4D, Maya selected ‘Sound Wave’ by Steven In addition, we used a combination Jon Berkowitz, Karoline Mikkelsen Lee, and then three weeks of of source images – greenscreen AD: Steven Lee intensive production began. After footage we shot, stock footage, as Design/animation: Brady Erickson, many long nights, revisions, a lot well as game capture. Getting all of Greg Reynard, Lujan Decima, of coffee and amazing teamwork, this footage to look consistent was John McMurrough, Mike Murtha, we were ready and proud to definitely technically challenging.” Nahara Pacheco, Elaine Alderette present the final piece. Post-production super: Mark Futa stash 57.18

Command & Conquer: Red Alert 3 Video game cinematic 4:11 Client: Electronic Arts Director: Richard Taylor Animation/VFX: The Third Floor Shadowplay Studio www.thethirdfloorinc.com www.shadowplaystudio.com The Third Floor and Shadowplay Studio (two independent LA CG shops located in the same building on Wilshire Boulevard) team up to pound out this epic- scaled cinematic for EA’s latest release of Red Alert. Third Floor cinematics to accommodate both Texture: Brian Ripley handled the , aesthetics was a fun creative Rigger: David Aguilar modeling, texturing and animation. challenge.” Schedule: 16 weeks. Shadowplay took care of the 3ds For Shadowplay Studio Max integration, lighting, effects, Watch Behind the Scenes on CG super: Ari Sachter-Zeltzer rendering and compositing. the DVD. Digital artists: David Glicksman, Torbjorn Olsson For The Third Floor Nicholas Markel, layout super Lighter: Joe Mangione Animation super: Chris Edwards at The Third Floor: “Red Alert FX technical director: Joe Scarr Layout super: Nicholas Markel has an over-the- to Compositor: Kevin Struckman it – everything is pushed to the Previs: Gerrard Southam, limit from the story to the vehicle Pat Gehlen Toolkit design. At the same time it’s Animators: Hunter Athey, Maya, 3ds Max, Cebas Final realistic in its presentation and Shannon Pytlak Render / Thinking Particles, has some plausibility. Defining Modelers: Apollo Kim, Felix Jorge, After Effects the animation and look of the Andrew Hwang stash 57.19

Gatorade Tiger “Woods of Wisdom” TVC :60 Agency: TBWA\Chiat\Day, LA Directors: Rune Bennicke Jean Perramon Production: Pepper Films Animation: Pepper Films www.pepperfilms.net Pepper Films’ directors, Rune Bennicke and Jean Perramon bring a lush but snappy feature film sensibility to the “Woods of Wisdom” where young Tiger finds his focus with the help of Gatorade and an ursine father figure voiced by Samuel L. Jackson. Traditionally animated with layouts and backgrounds finished in For TBWA\Chiat\Day For Vendetta Post For Play Studios Photoshop. Digital ink and paint Worldwide CD: Lee Clow EP: Sandy Beladino Mixer: John Bolen was done in Toon Boom Harmony President: Carisa Bianchi Producer: Liz Hiza For Lime Studios with final elements composited in Ex CD: Rob Schwartz Lead Flame: Pete Mayor Sound designer: Rohan Young After Effects. Group CD/copy: Jimmy Smith Flame assist: Christopher Reichel Group CD/AD: Jerry Gentile Toolkit For Bootzilla Productions Associate CD/copy: Photoshop, Toon Boom Harmony, Composer: Bootsy Collins Robin Fitzgerald After Effects. Audio engineer: Tobe Donhue EP: Sarah Patterson Producer: Angelo Mazzamuto stash 57.20

Jet Blue “Seat Monster”, “DVD” TVCs :30 x 2 Agency: For JWT New York JWT New York Co-president/CCO, North Director: America: Ty Montague againstallodds CCO, New York: Harvey Marco ECD: Wayne Best Production: CD/copy: Craig Damrauer Blacklist CD/AD: Brian Carley Animation: AD: Jacqueline Mellow againstallodds Copy: Mike Maher Milford DOP: Joe Calabrese www.againstallodds.se Producer: Angela Buck www.milford.se For Blacklist, New York Starting with “a couple of rough EP: Adina Sales from the agency,” Producer: Cassie Hamilton Stockholm’s againstallodds set Prod coordinator: Alexander Unick out to enhance the ideas in a fun For againstallodds and playful way. “We were going EP: Josh Thorne for a 1960’s safety brochure Producer: Anna Engellau style with its dry and somewhat CD: Derek Picken & Niklas Rissler unwilling comic aspect i.e. a sort PA: Rima Kassar of ‘duck’n’cover’ approach. We 3D animation: Milford, Stockholm started off by doing a detailed storyboard which was later For Hired Goons transformed into a detailed Music: Jeff Derringer, animatic. Once we were happy, it Sound design/mix: Roy Kamen was fleshed out in 3D animation Toolkit with added qualities to the Maya, Shake, After Effects, Flash, characters to make them more 3Delight dashing. The look development was aimed at getting a 2D flat shade whilst keeping a healthy balance with the 3D animation.” stash 57.21A

Publishing Inlingua “Business English” Cinema and TVC :60 Agency: Kolle Rebbe Werbeagentur GmbH Director: Andreas Pohl Animation: OPTIX Kreation www.optix-kreation.de Built on a print campaign for International language training organization inlingua, this spot, seen in cinemas and on air throughout Germany, preys on the human fear of language barriers. Steffi Beck, producer at OPTIX Kreation: “There were two main challenges for our creative team. The first was to honor the original print campaign in terms of concept and style. The second was to create an exciting scenario that used the reduced and minimalist look of the campaign. The decision to use one large scene was a main obstacle due to rendering For OPTIX Kreation Animation/compositing: Johannes complexities. We had a huge poly Sr producers: Steffi Beck, Kollender, Carsten Böhnert, count and used global Tobias Ziegler Kay Tennemann, Christian Dorn and ambient occlusion for lighting : Vitor Aguiar Colour grading: Anna Schornig which only increased the rendering CD /animation director: Toolkit needs.” Schedule: three weeks Andreas Pohl for preproduction, two months for Cinema 4D, After Effects, Lustre production. stash 57.21B

Bontrust “Moneylove” (Lincoln, Mao and the unknown Cinema and TVC 2:15 lady) were created in XSI with their own animation rigs. We did the rendering in 16:9 format with Agency: 1280 x 720 pixels on 25 machines Grabarz & Partner in our render farm. Motion and Werbeagentur GmbH depth blur was added during the Directors: compositing process with up to Andreas Pohl 25 layers and masks combined in Markus Geerts Flame.” Schedule: three weeks of preproduction, three months for Animation: production. OPTIX Kreation www.optix-kreation.de For Grabarz & Partner Steffi Beck, producer at OPTIX Werbeagentur GmbH Kreation in Hamburg: “The agency ECD: Ralf Heuel came to us with the idea to show Copy: Paul Von Muehlendahl the increase of money on the AD: Fedja Kehl international market in connection Producer: Anne Hoffman with some kind of sexual For OPTIX Kreation relation. The goal was to create Producers: Steffi Beck, a world completely made out of Tobias Ziegler, Andreas banknotes, so we spent day and Rothenaicher night researching the right objects Director: Andreas Pohl such as furniture, buildings, AD: Petra Delitsch bridges, certain landscapes, Animation: Markus Geerts, clothes, etc. This procedure was Michael Gottschalk, Florian Weyh, followed by style frames in 2D to Marc Goecke evoke the right feeling, tone and a VFX: Marcel Lemme, Daniel special origami look. Brylka, Felix Mueller, Maximilian “To get used to the origami Olowinsky technique we took dollar and Toolkit pound notes and folded figures XSI, Flame and models until our hands bled. Now we were able to start with the digital modeling – all characters stash 57.22

“Kopparberg Tropical Hummingbirds” TVC :10 x 3 Agency: Zeeland Director: Eliza Jäppinen Animation: Anima Boutique www.animaboutique.fi Anttu Harlin, producer at Anima Boutique in Helsinki, Finland: “The client commissioned three hummingbird characters in a tropical environment to launch three new cider flavors. The brief in a nutshell: distinct characters for each flavor; stylish design; bold colors; fresh atmosphere; tattoo- like; something new and different. “We pitched two different styles to the client, who chose to go with the more crafty and contrast-y, mixed media look. Eliza Jäppinen finessing. In the end, the client For Zeeland Toolkit designed all three birds in their brought over a load of drinks to us CD: Migu Snäll Alias, Adobe CS4, Maya respective environments and because they had got great results AD: Mikko Vaija directed the TVCs. Here we from the campaign.” Schedule: Copy: Anna Korpi-Kyyny four weeks. wanted to take the look of the For Anima Boutique characters further with lively 3D Watch Behind the Scenes on Director/designer: Eliza Jäppinen character animation. After that, we the DVD. Producer: Anttu Harlin combined the 2D and 3D elements 3D modeling/animation: Olli Rajala For Kopparberg Finland and crafted the final atmosphere After Effects: Heli Ellis Marketing director: in an After Effects comp, with lots Additional design: Kiira Kalliomäki Janne Järventausta of little tricks and details in the Sound: Humina stash 57.23

Pelephone “Canons” TVC :60

Agency: Adler Chomski & Warshavsky / Grey Israel Director: Eli Sverdlov Production: Mulla Productions VFX: Gravity - Rhino Group www.gravity.co.il This centerpiece for the launch campaign of the Pelephone cellular network in Israel uses 3D and matte paintings to create an enhanced reality that Ilan Bouni, VFX super/CD at Gravity calls “twisted in the good sense of the word. The big creative challenge was to come up with new ideas and a vision of this world that supports the story and the positive mood.” Shot in South Africa. Watch Behind the Scenes on the DVD. For Gravity - Rhino Group VFX super/ CD: Ilan Bouni Toolkit Maya, Photoshop, Flame, proprietary software stash 57.24

Bajaj “Bajajbots” TVC 1:11

Agency: Leo Burnett Mumbai Director: Tarsem Production: Radical Media Animation/VFX: Glassworks www.glassworks.co.uk Leo Burnett in Mumbai recruits Indian-born director Tarsem and London’s Glassworks to push the national TV presence of their motorbike client Bajaj to the next level. According to Glassworks: “The main animation and edit was blocked out from rough boards supplied by Tarsem and refined by editor Ben Stevens at The Whitehouse. All scenes that couldn’t be generated by motion renders were sent through to For Glassworks For Whitehouse Post capture, such as transformations, Diego to comp together in Flame.” TK colorist: Ben Rogers Offline editor: Ben Stevens reformations, etc., were then hand Post schedule: build to delivery Flame lead: Diego Vazquez Lozano animated. in 12 weeks, five more weeks for Flame assist/flint: Ruben Llusia Toolkit Flame, XSI “The robots movement and rigging changes. 3D lead: Alastair Hearsum was extremely complicated, as 3D: Will Davies, James Mann, For Leo Burnett Mumbai the client’s requirement was Vaclav Cizkovsky, Jaroslav Creative: KB Vinod they match the original concept Polensky, Nick Smalley, designs exactly, so a high degree For Radical Media Matt Lowery, Stephen New, of ingenuity and problem solving Director: Tarsem Per Bergsten, Roman Vrbosky. was required. Finally, all the Producer: Ray Leakey Producer: Phil Linturn stash 57.25

Mario Basanov & Vidis feat. Jazzu “Who’s Shot the Silence” Music video 3:53 Commissioning company: UAB Hard Consulting Director: Andrius Kirvela Animation: PetPunk www.petpunk.com PetPunk continues to ensure Lithuania’s place on the motion design map with visually fresh projects like this music video airing on Baltic MTV produced as part of a local charity campaign raising money for kids with hearing disorders. PetPunk partner and director Andrius Kirvela completed the low-budget project on his own over a six-week schedule. “The main concept was ‘sound’ and it was left loosely to interpretation. For PetPunk The creative challenge was Design/direction/animation: deciding whether the film should Andrius Kirvela be more conceptual with a direct Producer: Arunas Matacius solution to the subject, or to Music: experiment and let imagination Mario Basanov & Vidis feat. Jazzu flow and guide the artistic approach (the latter was finally Toolkit picked).” After Effects, Illustrator, Photoshop, XSI stash 57.26

Beast “Mr. Hurricane” Music video 3:22

Record label: Pheromone Recordings/ Vega Music Universal Music Canada Director: Ben Steiger-Levine Production: NuFilms VFX: Joshua Sherrett [email protected] Canadian director Ben Steiger- Levine on his video for Montreal’s Beast (the band’s first): “We had a one-day shoot with a minimal, yet well prepared crew. We only had two people working on post so the label was quite generous with our delivery schedule, allowing three months for the VFX work. The creative challenges were creating a Director: Ben Steiger Levine creature that felt supernatural but Producer: Sach Baylin-Stern also had human qualities, making PM: Pat Chevrier sure that the images suited the : music and establishing a balance, Christophe Collette harmony between live elements VFX: Joshua Sherrett and VFX elements and assuring VFX Asst.: Greg Kaufman the post marries harmoniously with : Fred Chamberland the natural lyrical qualities of the AD: Marie-Michelle Deschamps images. We would have shot it all Art assistant: Ariane Dupuis live/in camera, but our 1st AD was Editor: Ben Steiger-Levine allergic to bees.” Costumes: Perrine Lotiron stash 57.27

Bloc Party “Signs” (Armand Van Helden Remix) Music video 3:25

Record Label: Wichita Recordings Director: Hiro Murai Animation/VFX: Ghost Town Media www.ghosttownmedia.com Tokyo-born, LA-based director Hiro Murai teams with LA’s Ghost Town Media to conjure a nightmare of alternately gripping and shocking images for the Armand Van Helden Remix of Bloc Party “Signs”. Director Hiro Murai: “The client’s initial instructions were to make something ‘crazy and attention grabbing’ that incorporated some sort of club or rave setting. From to decide what could be done For Partizan Entertainment the beginning they wanted to do practically and what should be Director: Hiro Murai something out there and viral – done in post. Producer: Ross Girard which was really refreshing. It’s AD: David Gelb “We had about two and a half pretty rare to have a label give you DP: Will And Clay weeks for pre-pro to delivery. It no constraints on how far you can Prod designer: Corey Janus was pretty hectic. Four days of push an idea. Wardrobe: Nina Sokoler prep, one shoot day, seven days Make up: Tina Cohen “The main creative challenges for editing, four days for VFX. We Editor: Isaac Hagy were budgetary - as always. But didn’t see the sun for a while.” also, because we wanted these Toolkit machine-creatures to look organic, For Skyway Final Cut, After Effects, Mocha we spent a lot of time trying Commissioner: Jill Kaplan stash 57.28

“Taste Of Surimi” Student film 2:16

School: SUPINFOCOM Valenciennes Directors: Jean-Francois Leroux Thibaud Floutier Gerome Payen-Kennedy Pierre-Alain Dubois Co-director Jean-Francois Leroux: “At the beginning of the first school year, every student has to make three creative proposals for a short film. Each proposal consists of a short story and a few pictures to show what the movie could look like. These proposals are then submitted to the school What were the main creative staff who decide which projects challenges of the project? are worth going into production. The rhythm, the graphic evolution Creating Taste Of Surimi spanned and the music. We worked closely over two years – we worked with the musicians throughout part-time the first year on pre- to make it possible. We wanted production, and the second to do something personal and year was fully dedicated to the experimental, and we wanted the production and post production of movie to build to a crescendo – the short.” the deeper you get into the film Watch Behind the Scenes on the more the story and the look the DVD. become totally radical. We were constantly modifying things in the animatic to try different stuff and to see what worked best; one of the main objectives was experimentation. Any other details you would like to share? This was more than a technical thing, it was a human journey and experience. We each learned a lot about ourselves. We tried to use the best in each one of us to make this project become true. Once we agreed to do our own thing and not try to unconsciously please the people who are watching the movie – that was when Taste Of Surimi was on its own way.

Music/sound design: Nikolas Javelle, Sebastien Rouyer- Fessard, Yan Philippe What were the technical Additionnal technical support : challenges of the project? Luis Miguel Henao I think we can say the whole movie Toolkit was a technical challenge in the Maya, Zbrush, Photoshop, After sense that all technical aspects are Effects, Fusion, AVID hard to achieve if you want to do it right. One particular challenge was the graphic evolution, but we kept in mind that most of the time the simplest things are the best to illustrate a purpose. stash 57 BONUS FILMS

PSST!3 COLLECTION THREE Hare Four Thrillhare (Films 13-17 of 17) Short film: 3:09 Directors: Fons Schiedon, Josh The final installement of five brand Goodrich, David Hill, Chris Riehl new films from Bran Dougherty- Johnson’s latest adventure in collaborative motion art. PSST!3 counts over 175 participants from all over the planet including New York, Los Angeles, Portland, Seattle, Atlanta, Nashville, London, Glasgow, Paris, Vilnius, Amsterdam, Berlin, Dublin, and Copenhagen. Taking inspiration for its process from the Surrealist technique of Exquisite Corpse and the children’s game of Telephone, the films are each made in three parts, with different teams working consecutively on the beginning, middle and end. Stash is pleased to present all 17 of the PSST!3 films spread over three issues. Legends Of Exos Short film 3:19 Directors: PetPunk, Ben Langsfeld, Gareth O’Brien, Steve Scott Burial Sugar Live Short film 3:44 Directors: Bran Dougherty- Johnson, Rex Crowle

Remember Origins of Meaning Middle Ear Short film 3:01 Directors: Genn Leong, Anthony Furlong, Amir Admoni

Traps Rebirth The Yolk Dilemma Short film 2:37 Directors: Carlo Vega, Jun Seo Hahm, Rafäel Macho Stash Print Ad:print ad 5/12/09 11:57 AM Page 1

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