Stash39 Booklet Screen.Pdf

39 Imagine the impossible Inspiration. Everywhere. Imagine it. Then achieve it. New Vegas Pro 8 software provides you with the tools to accomplish what was once considered impossible – complete video and audio production in one application. It’s the ultimate all-in-one environment for demanding creative professionals. MUNICH JAKARTA MINNEAPOLIS SAN DIEGO LIMA BANGKOK KUALA LUMPUR SANTA MONICA HONG KONG TORONTO NEW YORK LONDON TEL AVIV Vegas Pro 8’s unique way of working with media has established it as the fastest-growing non-linear editing platform among producers who demand more. Its unique, progressive approach to video production, unrivaled audio control and powerful DVD authoring tools set it apart from other non-linear editors. Having established the benchmark for speed and ease of use, this new version moves the bar higher with additional features that offer increased power, functionality, and creative possibilities.

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VP8a_Stash.indd 1 8/8/07 4:45:45 PM I like to imagine for the more intrepid of our hunter-gatherer ancestors there were few things more exciting than finding an edible stash new plant or animal. The discovery helped solve the immediate DVD MAGAZINE 39 nagging in the gut, but it also must have been at least a fleeting source of admiration for nature and the endless variations it provided. Stash Media Inc. Editor: Stephen Price The Stash crew and I feel a special connection to those pre- Publisher: Greg robins agricultural humans – not only do we scour our known universe Associate editor: HEATHER GRIEVE for tasty and nourishing morsels, we also wear a lot of deerskin Associate publisher: CHRISTINE STEAD and communicate in a complex system of snorts, grunts and head Account managers: STACY JAMES FRY, slapping. APRIL HARVEY And like our thick-browed forebears we get a definite jolt from the Producer: BRANDON DEMARCO discovery of previously unknown species. Fully one third of Stash 39 Administration: MARILEE BOITSON is composed of studios, directors and production companies we had Music editor: STEVE MARCHESE either never heard of before or had no idea they created animation/ Contributing producer: ERIC ALBA vfx. Some are fresh new shoots like PepperMelon from Buenos Technical guidance: IAN HASKIN Aires and The 50 Year Storm from NY. And some are tall, firmly Montage editor: JEFF ZEMETIS rooted, multi-branched oaks like Stillking from Prague and Studio Cover image: THE MILL Baestarts from Budapest. If I had more time and space I’m sure I could find similarly overwrought metaphors for Spy Pictures, Medios WWW.STASHMEDIA.TV y Proyectos, Hollbrooks Films and the others as well. I think the point is really just this: new is good. New is fun. And new means business and creativity are flourishing in this little corner of ISSN 1712-5928 the media world we love so much.

Legal things: Stash Magazine and Stash DVD Here’s hoping all that goodness translates into a relaxing, joyous, and are published 12 times per year by Stash Media spectacularly peaceful holiday season for all of you. Inc. All rights reserved and contents copyright Stash Media Inc. No part of this booklet nor the Stash DVD may be copied without express Coming soon to a goodie bag near you. written permission from the publisher. Stash Media Inc. does not promote or endorse Stephen Price products, services or events advertised by Editor third party advertisers. Submissions: www. stashmedia.tv/submit. Subscrptions available New York, December 2007 from www.stashmedia.tv. Contact us at: [email protected] Stash Media Inc. 484-1641 Lonsdale Avenue, North Vancouver, BC V7M 2J5 Canada Printed in Canada. stash 39.01 stash 39.02

SATURN “PIXEL” Stash: It’s tough to tell what is live CASIO G-SHOCK TVC :60 and what is VFX in these spots. “ATTACK”, “GRAVITY” Virals / in-store videos x 2 Director Alexei Tylevich: The spots were shot using the Agency: Client: Phantom camera. We created SCHOLZ & FRIENDS, BERLIN F. CONNECTION LTD. to-scale molds of the biker’s Director: limbs and helmet, and filmed Director: ARVIND PALEP them shattering at high-speed. The concepts are simple and ALEXEI TYLEVICH The glass and debris were shot directly related to the tagline. Production/VFX: Production: in-camera. To complete the 1ST AVE MACHINE “Gravity” is meant to juxtapose LOGAN “Gravity” spot, animated CG www.1stavemachine.com the visceral quality of something elements were added to visualize Animation: being fragile with the implied New York 3D design boutique For Scholz & Friends the transformation of the body into LOGAN “toughness” of the watch, which is and production company 1st Ave Producer: Nele Jurgens the watch. The “Attack” spot was www.hellologan.com the only thing that softly bounces Machine continues to push their CD: Constantin Kaloff mostly shot in-camera, with some off the ground in the end of the Casio approached Logan with singular talent for fresh mixes of ADs: James Cruickshank, compositing. CG and live action with this spot Bastian Engbert spot, as opposed to shattering an invitation to design a custom for Europe’s leading electronics What was your creative like the rest of the body. The body watch for their G-Shock product For 1st Ave Machine store. “We were presented with the inspiration for the spots? in free-fall struggles with gravity line to be released in spring 2008. EP: Serge Patzak challenge of creating a refreshing and transforms into the watch As part of the project, the LA Director: Arvind Palep The brief was open. Casio’s only take on a sexy, female robot,” before reaching the ground, studio also conjured the print Live action producer: request was to come up with recalls 1st Ave director Arvind losing limbs as it falls. I wanted it campaign for these two spots. Lee Scharfstein a way to visualize the idea of Palep. “Every one has seen the to feel very dry and neutral, as if DOP: John Stanier “Toughness”. I wanted to come For Logan transparent, plastic-looking, it was happening in outer space, First AD: Chris Bicknell up with something that had a Director: Alexei Tylevich mechanical, nuts-and-bolts robot. like some sort of a scientific Production designer: connection to the product rather Producer: Frederic Liebert We wanted to look into the future experiment in a NASA clip. Alan Bruckner than being just a formal exercise. Project coordinator: Tina Chiang to take the concept to the next Stylist: Gabrielle Stanciu After pitching two ideas we ended The thought behind “Attack” EP: Kevin Shapiro level.” Hair/make-up: Loni Baur up shooting both. was to imagine the watch Animators: Sei Sato, Ryo Mikai, Lead VFX super: Dan Gregoras being violently attacked by “the Terry Wang, James Wang Producer: Hae-Sook Song elements” like scratches, burns, DOP: Rebecca Baehler CG: Joe Nguyen, Andrew moisture, etc. represented by Production designer: Dani Tull Watch Behind the Scenes on O’Donnell the gang of armed bikers. In the Editor: Volkert Besseling the DVD. Lead compositor: WeiTo Chow end, the watch is, of course, Sound: Michael Kadelbach indestructible. The attack Compositor: Dorian West Toolkit sequence is quite funny in the way Maya, Flame, Final Cut, Toolkit it feels so “Mad Max”. 3ds Max After Effects stash 39.03 stash 39.04 For Dentsu America, Inc. PLAYSTATION 3 “UNIVERSE ECD: Mike Wilson TOYOTA “HARMONY” OF ENTERTAINMENT” Associate CDs: Arun Nemali, TVC :60 TVC :60 Aaron Frisch Copy: Mike Wilson, Arun Nemali, Agency: Agency: Brent Bouchez DENTSU AMERICA, INC. TBWA\CHIAT\DAY AD: Aaron Frisch, David Page Director: Producer: Oscar Thomas Directors: ERICH JOINER SÜPERFAD For Tool of North America BOB RICHARDSON Animation: Directors: Erich Joiner, Bob Richardson Production: SÜPERFAD For TBWA\Chiat\Day DOP: Bob Richardson TOOL OF NORTH AMERICA www.superfad.com ECD: Rob Schwartz EPs: Brian Latt, Jennifer Siegel CDs: Brett Craig, Nick Davidge VFX: Gaining and keeping the attention Producer: Joby Ochsner EP: Anh-Thu Le THE BASEMENT of ADD gamers is a Herculean Production designer: Producer: Jane Krull task but this spot, with the camera Samantha Gore Post: Copy: Allan Manaysay plunging through ridiculous R!OT AD: Jamin Duncan For The Basement amounts of shiny black HD details, NICE SHOES VFX consultant: Rob Legato may just do it. Süperfad says For Süperfad www.rioting.com VFX producer/post super: they were challenged to design a Artists: Kevin Lau, Will Johnson, www.niceshoes.com Ron Ames commercial for a “sophisticated Will Campbell, Andy Kim, Glenn Lead digital artist: Adam Gerstel If British environmental sculptor audience who would appreciate Suhy, Ian Mankowski, Dylan Andy Goldsworthy were asked the notion of controlled chaos,” Spears, Todd Erickson, Robert For R!ot to construct a Prius spot it may and where every frame would work Vaindiner, Matt Lavoy, Erik Lee Compositor: Kiki Chansamone look like this. Nine 1:1 car models as a printed still. CD: Frank Pichel For Nice Shoes constructed from sticks, twigs, AD: Kevin Lau For Sony PlayStation VFX: John Shea mud, leaves and flowers in various EP: Kevin Batten SVP marketing: Peter Dille Assistant: Bryan Rosenblum stages of decomposition were Producer: Danielle Hazan Director of product and online VFX producer: Haydee Cepin shipped from LA to Banff National Editor: Charles Jensen marketing: Susan Nourai Colorist: Lez Rudge Park, Alberta and captured via a Director of software marketing: For Elias Arts 360-degree motion control rig. The Sound engineer: Josh Abbey Jeff Reese Producer: Kala Sherman resulting 20,000 feet of film were Executive audio post producers: Marketing manager: Kim Nguyen CD: Dave Gold compiled by The Basement in LA. Jeff Rosner, DJ Fox-Engstrom For Trinitite Inc. Music super: Oscar Thomas, Sound designer: Brian Emrich, Nathan Ehrenfeld Mixers: Jeff Payne, Jeff Fuller Toolkit Producer/scheduler: Kristin Felt After Effects, Maya, Inferno stash 39.05 stash 39.06

LEXUS “POP-UP” GUINNESS “TIPPING POINT” TVC :30 TVC :90

Agency: For Team One Agency: TEAM ONE CDs: Jon Pearce, Gavin Lester AMV BBDO Director: AD: Kevin R. Smith Director: OSKAR HOLMEDAL Copy: Dave Horton NICOLAI FUGLSIG EP: Jack Epsteen Production: Producer: Jennifer Weinberg Production: SMUGGLER MJZ For Smuggler VFX: Director: Oskar Holmedal VFX: A52 EP: Brian Carmody THE MILL www.a52.com Line producer: Line Postmeyr www.the-mill.com Turns out building a 30-foot tall DOP: Toby Irwin Filmed in an Argentine village pop-up book around a real Lexus For a52 over five days and finished during just doesn’t work; the pop-up EP: Mark Tobin eight months of post at The Mill in extensions would be too heavy Producer: Sarah Haynes London, this latest Nicolai Fuglsig and the pages couldn’t be turned VFX super: Andy Hall spectacular is what rushes 3D fast enough. So a full-sized green Lead Flame: Raul Ortego super Jordi Bares admits is, “one screen book frame was built, with VFX: Kirk Balden, Tim Bird, Mike of the most difficult jobs I’ve ever tabs and wheels to be operated by Bliss, Brandon Jolley, Ben Looram worked on.” The scope of the work stagehands. Then each page of a CGI lead: Dan Gutierrez is beyond this page but Bares says working six-foot pop-up book was CGI: Kevin Clarke, Chris Janney, the biggest challenge was adding shot opening and closing, as well Kirk Shintani For AMV BBDO For The Mill Animators: Eva Kuehlmann, the towering glass of Guinness as the animated movements within CDs: Paul Jordan, Angus McAdam Producers: Darren O’Kelly, Jonathan Vuillemin, Richard Costin made of books at the climax. The the pages. A total of 120 layers For Robot Repair Producer: Carol Powell Angela Jackson Concept artist: Jimmy Kiddel 4,000-foot elevation halted plans EP: Doug Darnell Assistant producer: Sasha Mantel Shoot supers: Jordi Bares, came together in HD at A52 whose Toolkit to build a practical set piece and CG artists also recreated every Composer: Kael Alden Darren O’Kelly “after much research on how fast Mix: Juice For MJZ Houdini, Flame visual element in Maya using high- Director: Nicolai Fuglsig Telecine: Paul Harrison the pages of the books should turn res stills from the shoot as textures Mixer: Bob Gremore Lead Flame: Neil Davies and how many were needed,” the Voiceover: Jim Sloyan DOP: Ellen Kuras and tracked them into the plates Producers: Suza Horvat, Flame: Paul Wilmot studio decided to create the frothy for final comping in Flame. Watch Behind the Scenes on Nell Jordan Additional Flame: Jay Bandlish icon in 3D with Houdini. the DVD. Editor: Rick Russell 3D producer: Stephen Venning 3D super: Jordi Bares TD: Cezar Niculescu stash 39.07

MGUINNESSotorola “Hakko” “SECONDSTVC :60 FROM GREATNESS” TVC :30 Agency: AMV BBDO Director: MARC CRASTE Production: STUDIO AKA Animation: STUDIO AKA www.studioaka.co.uk Intrigued with Marc Craste’s multi- sequences of cameras to give of hair with various sequences award winning 2004 short film “Jo us the most convincing sports of supporters’ actions waving, Jo in the Stars”, agency creatives coverage. cheering etc. In post several layers Bern Hunter and Mike Bond asked of dust, dirt, light flares and focus “To compliment the action on the Studio AKA director to create a pulls all help to contribute to the the pitch we needed to create rugby match composed of similar scale and atmosphere that we the atmosphere and magnitude dark and strangely charming recognize from a major sports For Studio AKA of a sports stadium. It had to characters – all within a pint of event.” Schedule: 17 weeks Director: Marc Craste contain thousands of enthusiastic Guinness. Producer: Sharon Titmarsh supporters, so we used a Watch Behind the Scenes on 3D TD: Markus Lauterbach Studio AKA producer Sharon technique called Hair Instancing. the DVD. Particle effects: Rob Chapman Titmarsh says despite the stylized Firstly we implement hair strands 3D builds: Andy Staveley, Adam look of the spot, they wanted all over the terraces of the stadium; Avery, Maarten Heinstra, “all the player’s moves plus that we then replace each strand Abraham Meneu Oset of the camera to feel convincing Compositing: Will Eagar and based in reality. To this end Editor: Nic Gill we dissected live action sports 3D animators: Lucas Vigroux, footage resulting in the creation Dave Antrobus, Rob Latimer, Boris of a multi-camera stage. This Kossmehl, Mic Graves, Perrine enabled us from the earliest Marais, Amandine Pecharman blocked-through action sequences to quickly establish the best Toolkit XSI, After Effects stash 39.08 stash 39.09

MCDONALD’S For Studio Baestarts SPISS “CHICKEN ROMANCE” AD: Éva Magyarósy Music video Virals x 3 Layout/animators: Károly Papp, Agency: Tomek Ducki, László Brovinszky, Director: DDB PRAGUE Miklós Mendrei, József Sándor JÓZSEF SÁNDOR Consultant: József Fülöp Director: System admin: János Stribik Production: WOLFBERG PM: Orsolya Sipos STUDIO BAESTARTS Animation: Co-producer: Karin Fahlen Animation: STILLKING FILMS CD: Alexei Alexeev STUDIO BAESTARTS www.stillking.com Producers: András Erkel, www.studiobaestarts.com Attila Szabó Stillking is the biggest production Director/designer: József Sándor Studio Baestarts have been company you may never have animating TV series, features, heard of unless you shoot a lot of shorts and commercials in live action outside NA. With HQ in Budapest since early 2004 but Prague and eight offices/studios make their grand entrance into spread across six time zones, Stash and the consciousness the bulk of their work is at the top Toolkit of reps and agency producers end of live action features, music Anime Studio, After Effects everywhere with this frenetic tale videos and commercials. Hopefully of a bunny-clad, hip-hopper. these weird and dry McDonalds EP/MD Andras Erkel: “The virals – designed to sell chicken animation technique is a vector- burgers – are a sign of more based computer animation using animated work to come. digital lighting and compositing. Animation was done in Anime For DDB Studio and the post-production in Associate CD: David Brada Adobe After Effects. Design and Director of broadcast production: storyboard were created by the Petr Svoboda Toolkit director based on the text of the For Stillking Films Photoshop, After Effects, Flash, song and in consultations with Director: Wolfberg Illustrator the composers and the singer.” Head of production: Schedule: three months for layout John Daczicky and animation, four weeks of post. Editor: Wolfberg stash 39.10 stash 39.11

“3:19” DISCOVERY CHANNEL “CHOP Feature Film Titles SHOP: LONDON GARAGE” Broadcast design Client: For Discovery Networks UK Client: VOLYA PRODUCTIONS, Producer: Adam Cole DISCOVERY FABRICA INTERACTIVA Production manager: COMMUNICATIONS EUROPE LTD. Director: Michelle Turner ROGIER HENDRIKS CD: Federico Gaggio Director: Director/editor: Rich Thrift RICH THRIFT Animation: ONESIZE For Rushes VFX: MUCHO MOTION Telecine: Marcus Timpson RUSHES www.onesize.nl VFX: Matt Jackson, Leo Weston, www.rushes.co.uk www.muchomotion.com Rufus Blackwell 3D: Chris Hutchinson, A new one-hour Discovery “When Onesize was speaking at Andy Hargreaves, Seb Barker Channel series breaks out of the the FITC Festival in April 2006, Combustion: Anthony Laranjo, cable reality chaos with this promo we met Joss Monzon of Mucho Joe Dymond working the show’s “Sparks will Motion in Toronto,” recalls Onesize Producers: Carl Grinter, fly” tag as literally as possible. director Rogier Hendriks. “He Sophie Elmy “Sparks were created in our 3D asked if we were interested in department that traced out the doing a feature film title sequence Toolkit lines of the new car,” says Rushes for “3:19”, the soon to be released Combustion, Flame, Maya VFX team member Leo Weston. film from Mexican director/writer “We took these as our guide, and Dany Saadia. Together with Rune used a combination of morphs Entertainment we came up with and rotoscoping to create the the idea to create a 3D sequence staggered transition from the old presenting a mock-up mobile car. The two plates were not shot version of the universe, created by on motion control so they needed God – his draft version. At the same matching up – plus the new car time it shows how everything in the had a much wider wheel base so universe is connected and related to For Volya Productions & Fabrica For Onesize Toolkit this needed some fiddling. The 3D each other.” Interactiva CD: Rogier Hendriks, Kasper 3ds Max, Fusion, After Effects, sparks were then composited over Director: Dany Saadia Verweij Photoshop the top and lighting effects added Animators/modelers: Ruud Terhaag, to give the look of the car being For Mucho Motion Harm van Zon Audio/sound design: invisibly welded together.” Post EP: Joss Monzon Robin Guthrie schedule: five days. stash 39.12 stash 39.13

NIKE 10K PICTOPLASMA SOCLES “THE RISE” TVC :20 “CHARACTERS IN MOTION” Viral Event trailer Agency: Production/animation Client: MOTHER, ARGENTINA PEPPERMELON SOCLES www.peppermelon.tv Production/animation Director: PEPPERMELON Buenos Aires motion graphics RX www.peppermelon.tv studio PepperMelon opens the Production: 2007 Pictoplasma festival in Berlin Part of the annual Nike 10K T42 FILMS with this fusion of characters marathon campaign in Argentina, and fluid. PepperMelon producer Animation/VFX: PepperMelon says this spot came Fernando Sarmiento says the idea CONDOR with the brief “make something real was simply, “to make a beautiful www.condor-post.com fun and wacky, but at the same piece where character design was time as realistic as possible.” The first of three virals for an king. Trying to make real ink move online video-based business For Mother and flow in the form of a pre- directory. Working from an open Agency producer: Cecilia Salguero designed character proved itself brief, director RX of T42 Films in CD: Nicolás Roberts quite difficult and at times almost Brussels says the real challenge impossible, meaning that the For PepperMelon was the creation of this abstract characters had to be re-designed Director: Tomás García world. “I started with the idea to fit the actual shot liquid.” EP: Fernando Sarmiento of using exploded pieces like Schedule: two weeks Director of animation: particles to form a majestic dark Martin Dasnoy For Pictoplasma cube, which would rise out of 3D modeler: Ignacio Godoy Commissioner: Peter Thaler the ground illustrating the huge Compositing: Fernando Sarmiento numbers of companies emerging For PepperMelon Design: Juan Molinet using Socles. I wanted the Director: Tomás García 3D lightning/rendering: Malabar, imagery to be very architectural Producer: Fernando Sarmiento Nicolás Couvin, Martin Malamud, and digital in opposition to the Character design: Juan Molinet Financial: Alberto Dominguez cinematographic music approach.” Compositor: Fernando Sarmiento Riveiro For Condor Schedule: two weeks 3D/compositing: Sandro Paoli Audio: Andrés Cáceres Toolkit For T42films Photoshop, Illustrator, Combustion Music: Hans Mullens Toolkit Director/compositing: RX 3ds Max, Combustion, Photoshop, Toolkit Illustration Maya, After Effects stash 39.14 stash 39.15

“ERES UNICO” “NEILS WAS ALIVE” Short film Short film

Director: Director: HECTOR MONERRIS HEATH HINEGARDNER Animation: Animation: MEDIOS Y PROYECTOS HEATH HINEGARDNER www.mediosyproyectos.com ILLUSTRATION www.trustheath.com “It’s a really small and personal project, done in holidays,” admits Heath Hinegardner is a frequent Hector Monerris who designed, contributor to The Wall Street directed, animated and scored his Journal, The New York Times, The “nano-film” in a week of 14-hour Village Voice and hands down the days. “Its only purpose is to feel best known illustrator currently pleased when doing it. Sometimes residing in Lawrence, Kansas. In it’s good to do things for your this short tale he sets in motion his own purpose only. Fitting all the luminous scratchboard illustrations elements to be a unique unit was from an unpublished book really difficult. It’s hard to find an project. Heinegardner reveals the appropriate and intimate design; illustrations “take around three- a very simple character to be able four days each.” to express its emotions; and a For Heath Hinegardner properly fitted audio to drive you Illustration through the story.” Director/animator: For Medios y Proyectos Heath Hinegardner Design/director/music/animation: Toolkit Hector Monerris After Effects, Photoshop Toolkit Photoshop, Flash, After Effects THE NUTRITIOUS PART OF YOUR CREATIVE BREAKFAST

www.stashmedia.tv/feed stash 39.16 stash 39.17

SAMSUNG G800 “JOSIE’S LA LA LAND” “HOW WE MET” Short film Viral Client: For The Viral Factory Director: SAMSUNG ELECTRONICS Director: Jake Lunt EB HU Producer: Patrick Duguid Agency: Production: Editor: Jamie Foord THE VIRAL FACTORY HYBWORKS For Spy Pictures Director: Animation: Animator: Pat Beirne JAKE LUNT HYBWORKS Animator’s assistant: http://hybworks.co.uk Production: Emily Woodburn THE VIRAL FACTORY Online audio mix: Dave Ball A lyrical, abstract and emotional visualization of the last wishes Animation: Song: Son of Dave “Goddamn”, of 16-year-old Josie Grove who SPY PICTURES Kartel had endured two bone marrow www.spy-pictures.com Toolkit transplants and a course of anti- “How We Met was shot over four Photoshop, After Effects cancer drugs which all failed days, when we took 1,622 photos to halt her leukemia. Director/ to create the film,” explains Viral CD Eb Hu, who was born and Factory producer Toni Smith. educated in Shanghai and is now “Other materials included 10 gel based in London, says “Josie’s pens, one black marker pen, one story, as well as many other red marker pen, one eyeliner, children who are under the similar 16 packets of make-up remover circumstance around the world wipes, one bottle of moisturizer, inspires this piece. After been told one beard trimmer, one razor, one her condition was terminal, Josie angle poise lamp, one standard decided not to undertake any lamp, one torch, one mirror, one further treatment but to go home Samsung G800 phone, and two For Hybworks and reunite with her family. Thus, very patient models!” Skintastic Director/AD/CD: Eb Hu she could enjoy a normal teenage animation courtesy of Spy Pictures Music: Phillip Sheppard life for her last three months.” in London. Voice: Carrie Edwards Toolkit 3Ds Max, After Effects stash 39.18 stash 39.19

“PROCRASTINATION” LOLLY JANE BLUE “WORMS” Student film Music video

Director: Director: JOHNNY KELLY SIL VAN DER WOERD School: Animation: ROYAL COLLEGE OF ART SIL VAN DER WOERD www.rca.ac.uk www.silvanderwoerd.com Not only did this film earn Dublin- Director Sil van der Woerd creates born Johnny Kelly his MA in a lush dreamworld with very little animation at the Royal College cash and lots of passion. “The of Art in London and the Conran project had a very limited budget Foundation Award, it also won of only $1,000 and was made with him the Best New Director prize non-professional equipment. This at the 2007 Shark Awards ad fest gave problems in matching up the which brought him to the attention low quality of the video with the of Nexus Productions who now high quality of the 3D renders. But represent him as a director. due to the lack of budget a lot of Kelly describes the film as, “an Set construction: simple, effective solutions were investigative and exploratory Sil van der Woerd, Peter von found such as the plastic dress in hands–on, gloves-off study into Bartheld, Marie-Louise Rijksen the middle of the video ($3) or the the practice of putting things Underwater crowd: Shailesh, white paper dress in the opening off. Sometimes the only way to Huub, Witte, Joppe, Babet, Doris, scene ($7).” Schedule: seven get something done is to do two Eva, Hilde, Julie, Maro, Naique, months on a single-processor dozen other things first.” Jefta, Nienke, Sabine, Simone laptop. Runners: Jelle van der Woerd, Story/animation/direction: Judith Naber, Elmar Noteboom, Director/writer/producer/animator/ Johnny Kelly Marlies Weeting design: Sil van der Woerd Voice over: Bryan Quinn Special thanks: Omra, Editors: Sil van der Woerd, Sound design/sound mix Yvonne Zijp, Floris Kaayk, supervising sound editor: Wouter Nordsiek Satya, Jouke Mellema, Costume design: Djovrie Krus Mike Wyeld Studio HKA, Dave Refoealoe Foley artist: Sue Harding Music composer: Tim Meijer Foley engineer: John Mark Toolkit Underwater camera: Sander & Maya, Zbrush, After Effects, Final Heleen, Gerard van der Heijden Cut Pro, boujou, Photoshop stash 39.20 stash 39.21

JOSÉ GONZALES “TEARDROP” SUBARU Music video “WRX: THE LEGEND REBORN” TVCs :30 x 3 Record label: MUTE RECORDS Agency: MOON CITY Director: ANDREAS NILSSON Directors: WARNER BARNES, Animation: ALAN BIBBY ANDREAS NILSSON www.nixonnoxin.com Production/VFX: THE 50 YEAR STORM Since 2001, somewhere in the www.50yearstorm.com town of Malmö, Sweden, artist and director Andreas Nilsson has been Working from an open brief, NY making jarring, awkward and often agency Moon City and production/ uncomfortable music videos. Lots VFX company The 50 Year Storm of music videos. His site lists 13 help Subaru of America launch projects completed in 2007 alone the redesigned 2008 WRX with with many labels like EMI, Rabid, a series of spots emphasizing Subpop and Mute coming back moody action narratives rather again and again to snare a piece than acceleration statistics and of his singular weirdness for bands winding country roads. Gregg like The Knife, Cesars, Depeche Lieberman, the Sheriff at Moon Mode and Goldfrapp. Nilsson says City, recalls, “Each spot was of this promo, his fourth for José to be a miniature film of epic Gonzales, “I would like to give proportions, combining live action credits to the church of Jehovah’s actors, matte paintings and CG Witness whose educational films environments, designed to fully inspired this video.” embrace the grandeur — and absurdity — of specific styles of Director/animator: Andreas Nilsson For The 50 Year Storm Matte paintings: Meduzarts cinema.” Schedule: three months. Toolkit Directors: Warner Barnes, Music: Q Department Alan Bibby Watch Behind the Scenes on After Effects, Photoshop Toolkit CG director: Carl Mok the DVD. After Effects, 3ds Max, Photoshop Sheriff: Gregg Lieberman stash 39.22 stash 39.23

COUNCIL FOR TRAFFIC OPTUS SAFETY “TAKE 10 OFF” “RACCOONI BROTHERS”, TVC :30 “HISTORY” TVCs :30 x 2 Agency: THE AID AGENCY Agency: Director: M&C SAATCHI, SYDNEY FREDERICK CALLINGGRAD Director: Production: PHIL MEATCHEM FAR FROM HOLLYWOOD Production: VFX: FILMGRAPHICS GHOST PRODUCTIONS www.ghost.dk Animation: This road safety spot, running on FUEL Danish TV and at gas stations For M&C Saatchi, Sydney www.fuelvfx.com across Denmark, started with a ECD: Ben Welsh The fine art of digital raccoon location motion control shoot of AD: Paul Carpenter wrangling nudges forward with the reference car. Lars Bartkær, TV producer: Loren August producer at Copenhagen VFX these two spots running on studio Ghost, says the major For Filmgraphics Productions Australian TV. Fuel producer challenges during the following Director: Phil Meatchem Anne Miles reveals, “The main four and a half weeks of post were Producer: Jo Jordan creative challenge was to create realistic raccoons with human-like “to integrate a wire car in a real For Fuel For The Aid Agency characteristics that will engage environment and to make it look VFX super: Dave Morley CDs: Niels Heilberg, Andrew Smart, the viewer in a commercial with realistic. We also had to make extra Rasmus Sigvaldi particle dust, smoke and debris Toolkit 15 seconds of graphics and and integrate it with the real dust, For Far from Hollywood Maya, Shave and a Haircut, product information.” The main smoke and debris we had from the Producer: Morten Hoffmann Larsen Renderman tech challenge – besides the reference plates.” Director: Frederick Callinggrad comedic performances – was ADs: Andrew Smart, Rasmus raccoon grooming. The final result, Watch Behind the Scenes on Sigvaldi using Shave and a Haircut, has the DVD. been used by Pixar to promo the For Ghost software on their website and at VFX producer: industry trade shows. Schedule: Rikke Hovgaard Jørgensen eight weeks. VFX artist: Thomas Øhlenschlæger stash 39.24 stash 39.25

D & A For Brand New School PIONEER KURO “ENTER” “THE FACTORY”, Director: Ben Go TVC :60 “SEA OF GLASSES” EP: Jennifer Sofio TVC :30 Live action producer: David Wolfson Agency: Agency: Producer: Darren Jaffe TBWA\CHIAT\DAY DLKW DOP: Jeff Venditti Directors: Editor: Erik Barnes Director: WILL HYDE Previz: Halon BEN GO JUSTIN LEIBOW CD: Robert Bisi JOHN HILTON Production: CG super: Scott Metzger BRAND NEW SCHOOL Character animation: Vinh Chung, Production: PASSION PICTURES Max Keane, John Velasquez SÜPERFAD Modelers: Roger Borelli, Animation: Animation: Robert Bisi BRAND NEW SCHOOL SÜPERFAD Rigging: John Riggs www.brandnewschool.com www.superfad.com CG: Scott Metzger, John Sadler, The disparate tones and Stephen Sloan, Kyle Cassidy Süperfad breaks out all the techniques of these two spots Compositors: Scott Metzger, gadgets in their bat belt – stop for UK optical retailer Dolland & Stephen Sloan, Philip Ineno motion, live action, 2D, 3D Aitchison are held together by Flame: Philip Ineno animation, comic illustration Brand New School’s charming, off- and collage to create this visual For Passion Pictures kilter characters and a dark sense interpretation of the Pioneer tag EP: Michael Adamo of mischief. While “The Factory” is “Seeing and hearing like never Producer: Kayt Hall an all-CG project, “Sea of Glasses” before.” Süperfad CD Justin places the 3D talent into live Toolkit For TBWA\Chiat\Day Producers: Scott Ludden, For Machine Head Leibow: “Our intent was to action shot at Point Dume beach Maya, Flame, After Effects CDs: Lee Clow, Jerry Gentile Amy Russo Composer: Jason Moss emulate the fractured stream-of- (as made famous by Bay Watch) Producer: Brian O’Rourke CDs: Will Hyde, Justin Leibow consciousness of dreams; leaping For Stimmung until the lead – bearing a certain Assistant producer: Cia Restraino Artists: Will Hyde, Justin Leibow, from one fragmentary moment to Sound designer: Gus Koven resemblance to Mr. Hasselhoff – Copy: Gage Clegg Bryan Cox, John Cherniack, Eric the next. This, of course, with an saves the maiden floundering in AD: Becca Morton Lee, Grace Lee, Tim Kadowaki, Toolkit ever-constant forward trajectory the sea of CG glasses. Will Campbell, Matt Lavoy, Matt XSI, After Effects, 3ds Max, bursting through discordant For Süperfad Rosenfeld, Ryan Kirkwood, David Combustion visuals.” Directors: Will Hyde, Silvers, Dan Fraga, John Riggs, Justin Leibow, John Hilton David Viau, Eric Edwards, Ajit DP: Brendan Galvin Menon, Phiphat Pinyosophon EP: Kevin Batten Editor: Charles Jenson stash 39.26 stash 39.27

“T.O.M.” “LITTLE ATOMIC BOMB” Student film Short film

Directors: Director: DANIEL BENJAMIN GREY, ADAM LONG TOM BROWN Animation: School: ADAM LONG INTERNATIONAL FILM www.paperhousefilms.com SCHOOL OF WALES “I wanted to make a motion piece Animation: based on the poem ‘Little Atomic HOLBROOKS FILMS Bomb’ by Charles Bukowski,” www.holbrooksfilms.com notes Portland director/animator Adam Long. “I wanted it to be Daniel Benjamin Gray and Tom a letter written to a general by Brown’s quietly twisted graduation a madman, and we are flying film has earned them recognition through this insanity represented at no less than 50 international by frantic but beautiful looking fests including Sundance, drawings like Ralph Steadman’s. Annecy, Ottawa and the HBO My friend and Portland artist Tom Comedy Film Festival. They now On creating the look On toiling in South Wales Keating (tomkeating-art.blogspot. operate as Holbrooks Films and “We wanted to create an entirely “Each frame of t.o.m. equates to com) created the bomb girl, pig recently signed with Blacklist for digital film, however we were keen approximately 20 minutes of man bomb, and inked the initial plane. representation. to use traditional techniques. A lot hours. That divided by two people The horse and women dancing are of computer animation packages and spread over a period of five both Muybridge photos inked over, Direction, production, concept, are geared towards vectors and months leaves very few hours animation, design and sound: the flower pot is ink spots, and making things easier, but we for sleep in the day, three of our the initial bomb is an old photo of Tom Brown, Daniel Benjamin Gray did not want to use any of those months of production were spent Voice talent: Kristy Cromwell ‘Fat Man’ covered in ink, the final features, so using 2D computer seven days a week, 17 hours mushroom cloud is ink in a tub Toolkit software with a frame by frame a day, in a cold garage on one of milk.” Painter, ToonBoom, After Effects, technique but retaining a line garden table, a makeshift table, a Premier, Maya, Final Cut Pro that had the qualities of pencil PC and a Mac.” Director/animator: Adam Long and paper was a hard goal. We Illustrator: Tom Keating eventually used Photoshop to Poem: Charles Bukowski clean up and go over each frame Toolkit of the animation lines we created Photoshop, After Effects, digital in ToonBoom.” camera, scanner, ink, paper stash 39.28

ORANGINA “NATURALLY JUICY” For The Mill TVC/viral Producer: Stephen Venning Telecine: Jamie Wilkinson Agency: 3D producer: Pip Malone FFL, PARIS 3D/animation lead: Juan Brockhaus Directors: 3D TD: James Rogers TODD MUELLER Fur TD: Rick Thiele KYLIE MATULICK Environment lead: Jimmy Kiddell Production: Mo-cap TD: Thomas Champon STINK 3D: Grant Walker, Sam Driscoll, PSYOP Laurent Makokski, Alex Hammond, Ed Boldero, James Spillman, Animation: Janak Thakker, Jesus Parra, THE MILL, LONDON Douglas Laissance, Marco www.the-mill.com Kowalik, Can Y. Sanalan, Max Paris-based über creatives Fred Dennison, Noel Hocquet, Justin & Farid enlist Psyop co-directors Summers, Raul Monerris, Aidan Todd Mueller and Kylie Matulick For FFL, Paris For Stink/Psyop Gibbons, Luke Tickner, Sergio and the CG animation crew at ECDs: Fred & Farid Directors: Todd Mueller, Xisto, Richard Costin, Carlos Calle The Mill, London then push hard CDs: Michael Zonnenberg, Kylie Matulick Ramos, Simon Clarke on a whole lot of buttons and Joseph Dubruque, Nicolas Lautier, EPs: Daniel Bergman, 2D lead: Darren Christie boundaries to boost the image of Baptiste Clinet Sylvaine Mella 2D: Peter Hodsman, Grainne a classic carbonated drink and Advertising supers: Hugues Producers: Richard Fenton, Freeman, Michael Harrison, Mark its iconic bottle. “I guess it goes Pietrini, Marie-Laure Trichard Mariya Shikher Payne, Garrett Honn without saying that when you get TV producer/3D production: Animation director: 3D editorial: Daniel Budin the opportunity to spray Orangina Robin Accard Nicholas Weigel Motion capture: Cinedroid Additional design: David Chontos all over the chest of a sexy bunny Music: I Like it Like That, EMI Editor: Paul Hardcastle girl, you go for it,” sighs Mueller. Music Publishing “That was basically the motivation Sound production: Amber Music and creative charge throughout Composer/arrangers: Colin Smith, the production; the agency just Simon Elms kept pushing us to get furrier and EP: Michelle Curran naughtier.” Sound designer: Bill Chesley Mix: Jungle, London

stash 39 BONUS FILM

“TERMINUS” Short film

Director: TREVOR CAWOOD Production: SPY FILMS VFX: THE EMBASSY RAINMAKER www.theembassyvfx.com www.rainmaker.com For Spy Films You’ve seen Trevor Cawood’s EP: Carlo Trulli name before as the VFX supervisor Producer: Robin Hays on the Nike “Evolution” and Citroën Co-writer: Jason Cawood “Transformer” spots directed DOP: Trent Opaloch by Neil Blomkamp. His own Camera op: Ozan Biron directing career is now up and PAs: Marcus Trulli, Billy Wong running with this VFX-enhanced VFX super: Tristam Gieni short premiering at the 2007 For The Embassy Toronto Film Fest and landing rep VFX: Stephen Pepper, deals with Spy Films and Biscuit David Casey, Paul Copeland, Filmworks. He is a graduate of The Michael Blackbourn, Dan Prentice, Art Institute of Vancouver’s Visual Winston Helgason, Jim Hebb, Effects program and a partner and adapts and evolves through stress. didn’t have a large budget, and Tannis Mathers co-founder of The Embassy VFX. Both my need for stress and my two, we didn’t have a lot of time at need to get rid of stress have our locations, so we had to shoot For Rainmaker On influences: “I grew up played a large role in the shaping lean. I actually think the rushed, Motion capture: Ben Burden watching a lot of 1970s Canadian of my character. The characters imperfect filming style lends a Smith, Jason Hancox, Jody Zoerb, media. As a result, I developed in Terminus are metaphors for lot to the look of Terminus. The Rob Hansen, Paul Cech, an interest in brutalist design anxiety.” film took around 10 months to Tony Lomonaco and architecture. That influence complete, but it could have been prevails throughout the film. On production: “The crew was Toolkit done in half that time had I not From a conceptual standpoint, never more than seven people. LightWave, Modo, Zbrush, Shake, been doing other gigs.” I’m fascinated by how the mind Two reasons for this: One, we Final Cut, Premiere Pro. news gallery forum

image by Xiaoyu Wang CINEMA 4D RELEASE 10.5

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