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Stash 67 Book Web.Pdf 67 st New this year! 31 Annual • Introducing The People’s Telly Award presented by YouTube • Expanded Web Categories • New Social Media and Social Responsibility Telly Awards Categories Call For Entries Enter Honoring the very best in: > Film and Video Production > Local, Regional and Cable Television Commercials, programs and Segments Now > Online Videos, Films and Commercials Enter now at www.tellyawards.com > Final Extended Deadline: April 23rd FMX2010 1 5 th Conference on Animation, E ects, Games & Interactive Media 4 Days. 350 Speakers. 7.000 Visitors. Converge. Connect. Participate. For the 15th time FMX introduces the world’s leading experts in the creation, production and distribution of digital entertainment and interactive visualization. This year’s hot topics will include 3D Stereo, Hybrid Imagery and 360° Media and more! May 04 - 07, 2010 Stuttgart, Germany www.fmx.de FMX 2010_Stash_02.indd 1 10.03.2010 09:52:38 The inspirational new design annual from Stash Media showcasing spectacular presentation art and video. Available AUGUST 2010 www.stashmedia.tv/styleframes If you want to start eyes rolling and blood boiling in the creative world just stash drop the subject of pitching into converstion. In fact, you often don’t even DVD MAGAZINE 67 have to bring it up: on a recent trip to LA, an executive at a revered bi- coastal studio suddenly looked up at me and sighed, “Pitching is killing this StaSh Media inc. editor: Stephen price industry.” Managing editor: HEATHER GRIEVe associate editor: aBBeY KERR The client/agency/studio dynamic is storied and complex and beyond the account manager: APRIL HARVeY breadth of this space, so let’s just agree on a few things: administration: STEFANIE pOLSINELLi 1. Pitches cost money. preview/montage editor: 2. The average number of pitchers per project is rising beyond reason. HEATHER GRIEVe 3. 90% of pitches die an ugly death at the hands of unappreciative pitchees. art prep: aLAN SWINTOn proofing: I don’t have a cure for all your pitching blues but I can offer a balm of sorts. MARILEE BOITSOn This August Stash will publish the premier edition of a design annual called preview opening animation: TANTRUM STYLe FRAMeS to showcase outstanding presentation art and video. technical guidance: IAN HASKIN Cover image: every year STYLe FRAMeS will give you the chance to rescue all those daring Nathan Love / MoTHERShIP and brilliant visual treatments hiding in the studio drawer and showcase them in a beautifully printed, full-size design book complete with a DvD and WWW.STAShMeDIA.Tv insights and tips from top creatives on the art and science of pitching. iSSn 1712-5928 STYLe FRAMeS won’t solve the pitching crisis but it will raise the profile of those who do it for a living and fuel discussion of the issues involved. Stash DVD Magazine is published 12 times per year by Stash Media Inc. All rights reserved and contents copyright Stash Media And yes, it will provide a modicum of revenge against the heathens yet to Inc. No part of this booklet nor the Stash recognize your genius. DVD may be copied without express written permission from the publisher. Subscriptions: www.stashmedia.tv Submissions: www.stashmedia.tv/submit Stephen Price Contact: Stash Media Inc. editor 35 McCaul Street, 305A New York, April, 2010 Toronto, ON M5T 1V7 Canada Curated in New York. Printed in Canada. [email protected] stash 67.01 MerceDeS-BeNz like this was not easy. Luckily we “Sculpture” got a 3d model of the sculpture, event film 2:00 (director’s cut) so we could really search digitally Client: for interesting close-up views on DaimleR AG the object. and we were also very lucky Mercedes-Benz had already Agency: built a 1:4 scale model of the OliveR SChRott sculpture, which was perfect for KommunikatioN GmbH this shoot. Production: The Marmalade “the challenge was the timing: We had about two weeks to develop Director: the look and feel, and the story. Andreas SChIMMelpfennig the special effects experts at the Animation/vFX: Marmalade had then just one week ElastiqUe to prepare the three-day high- DeINe FReunde speed shoot. this is not much www.elastique.de time if you think of all the rigs they www.deine-freunde.tv needed to build – like shooting little water drops into the air so that a sleek and sensual film for the they collide precisely in one spot. unveiling of the Mercedes-Benz after the shoot there were just 10 Sculpture at the north american working days left to finish all the international auto Show 2010. post production. andreas Schimmelpfennig, director at elastique (Köln, “Since in the past we did a lot of Germany): “We had the idea of full cG projects for Mercedes- having the elements water, fire Benz, it was great to work with real and air somehow interacting with film footage again. We like cG, but the object, shaping it and thereby most of the time we do not like the showing the evolution, but in a feel of cG. We think there are just very abstract way. a few projects out there that use cG in a very organic, sensual way. “We called our friends at the So we’ll keep trying to produce Marmalade and found filming these work somewhere in between.” things in live action, but at high speed, a very appealing approach. Schedule: six weeks. But planning a very abstract shoot For oliver Schrott Jan Gwiasda, Boris Frey Kommunikation Gmbh Gaffer: claus Mielke EP: claudius nowak Best boy: Jan peter helms For elastique For Deine Freunde director/CD/editor: andreas Super digital artist/colorist: Schimmelpfennig Swen Linde AD: Betty Schimmelpfennig AD/digital artist: peter pannes designer: thomas von den digital artists: axel hamacher, driesch Min tesch Storyboard: hans-christoph Movematcher: tim Mendler Schultheiss Making of: tobias Mönninger For The Marmalade For Shake up Music producer: niels thomsen composer: Volker pannes dOp: eike rieche color grading: WeFadetoGrey phantom operator: Marcus hambsch Toolkit DIT operator: Jan tiedemann cinema 4d, after effects, Scratch, Motion control: christian Fritz Final cut, pro tools, photoshop SFX: daniel Feuerhake, stash 67.02 Audi “Beauty IN Engineering” TvC :30 (spec) Director: Aladino DeBert Animation: Radium ReeL FX Entertainment www.radium.com www.reelfx.com radium and reel FX hit a spectacular yet transcendent note as they stretch their photo-real cG and directing chops. Katherine harper at reel FX fills us in: “From a conceptual standpoint it was important to push the envelope and create a piece that had no counterpart in our past work. With that in mind, director/ designer aladino debert created detailed storyboards, board-o- matics and style guides to make sure the team had a rule book of sorts. “debert wanted to treat the spot as photographically as possible, and in doing so, he wanted to design the lighting and choreography to mimic what could have been shot in live action if resources had been available. the plan was not to set out to do a cG car spot but to create a beautiful :30 film. “More predictable perhaps was “compositing was quite an For Radium / Reel FX production coordinators: the challenge managing enormous adventure given the number of entertainment chris almerico, Jody Wilson amounts of data. each car was elements created and the fact director/designer: aladino debert TD: richard Wardlow in the order of one to 1.5 million that we were generating full HD Lead cG: Jerry Weil editors: alan chimenti, polygons and some frames floating-point frames, in some producer: Matt thunell Sarah cole took up to 60 or more hours instances with up to 25 channels compositors: rob nederhorst, Sound designers: to complete. Luckily, since the embedded on the .eXr’s.” dag ivarsoy, Joe censoplano Frank pittenger, tJ callaway lighting was very accurate, we cG: dariush derakhshani, hatem Watch Behind the Scenes on Music “Suna” by radicalfashion were confident of the outcome and Ben abdallah, Steve cummings, the DvD. could make do with low-resolution dave damant, Mark thielen Toolkit proxies until the very end. 2d: dustin d’arnault, Maya, V-ray, nuke, inferno, ronnie Bates, James tobias photoshop, after effects stash 67.03 “Porsche Panamera” TvC :60 Agency: revealed from an overhead shot at performance and perspective tree’. Once we had these wheel CrameR-Krasselt the end of the commercial. changes. bases as digital assets we were able to use them to generate cG Director: “after editing was completed, the “every car, whether from the dust from the tires of the cars Jeff Zwart agency felt the performance of original plate, still photo or cG which also helped glue the cars the cars was not strong enough to needed to be match moved by our Production: into our new environment. @Radical Media support the concept, so we added tracking department to give us an many additional cars and created accurate wheel base that could be “We used photographs taken at vFX: new cars that would jostle for used to generate the tracks that Black rock desert in nevada as Asylum Visual Effects position and peel off to form the were left on the desert floor. elements for matte paintings and www.asylumfx.com trees branches along the way. textures that we generated to “these tracks ended up being a here’s the thing: With a few well- create our environment. all came “We used every trick in the character unto themselves as they placed phone calls you can round together in the compositing stage book to achieve this: cars were could help tell the story of where up 50 antique porsches (Jerry which required countless hours to rotoscoped from alternate takes cars had been or could give us Seinfeld alone might lend you 14 finesse all 57 shots.” for instance) but you will never ever and re-tracked into our shots; still the impression of how the cars convince Jerry et al to send their photos were taken and reanimated swerved in and out of each other Watch Behind the Scenes on babies into battle across any rock- to populate scenes; and many to add energy to the spot or simply the DvD.
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