Stash 62 Book Web.Pdf

Home , Jinho, Lighters (The One), Oceansize

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SFP10_Perfect10_Stash.indd 1 8/25/09 12:20 PM 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:

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Enter now at www.tellyawards.com > Early Deadline December 18th Enter code: 62 PG3SF1 at: www.stashmedia.tv/promo to SAVE 25%

Here’s your chance to own 30 extraordinary short films by Stash SHORT FILMS 1 delivers an international program of today’s most innovative directors – over two-and-a-half hours of festival hits and little-known gems PLUS behind the scenes sheer entertainment from Stash DVD Magazine. extras and a 40-page book of stills, credits, production notes and links for every project. www.stashmedia.tv/SF1 On a trip to Los Angeles in late September I packed 16 studio tours into two days (oh, it’s possible if you group them geographically and ignore stash the No Parking signs). For someone who spends the majority of his time DVD MAGAZINE 62 tethered to his desk interacting with other living beings through iChat, Stash Media Inc. this flurry of face time was a jolting social overdose. Editor: Stephen Price The rushing around through LA traffic and sheer volume of handshakes Managing editor: HEATHER GRIEVE forced me to remember my own ATTM rule – which I used to live by but Associate editor: ABBEY KERR had somehow let slip. ATTM stands for Always Take The Meeting. Account manager: APRIL HARVEY Business development: Ten to 20 percent of what you plan for at any social event or interaction Pauline Thompson will actually happen. Most of the valuable bits are unplanned, unforeseen Administration: and often initially uncomfortable. STEFANIE POLSINELLI The benefits of the ATTM rule expand by many orders of magnitude when Preview/montage editor: HEATHER GRIEVE you apply it to the hundreds or thousands of interactions you experience Guidance/proofing: at conferences and festivals. Spilled drinks, a cancelled speaker, the MARILEE BOITSON missed plane: With the ATTM rule all these hassles become opportunities Preview opening animation: TANTRUM for adapting, deconstructing and thinking outside our iChat window. Technical guidance: IAN HASKIN I bring all this up because the recent rush of innovative openings for Cover image: design conferences and film festivals continues unabated (we have four PLEIX / DIGITAL DISTRICT of them on Stash 62). Local events like F5 and Cut&Paste also continue to flourish despite the economy. And I suspect I know the reason: Humans WWW.STASHMEDIA.TV need visceral interaction, we were not designed to communicate via key ISSN 1712-5928 strokes and tiny candy-colored bubbles. Not counting agoraphobics, we are all born with our own version of the Stash DVD Magazine is published 12 times ATTM rule. Watching work on disks and online is convenient but will never per year by Stash Media Inc. All rights reserved and contents copyright Stash Media compare with cramming into a screening next to the demure French girl Inc. No part of this booklet nor the Stash who suddenly erupts in a snorting fit at a spot you thought (up until that DVD may be copied without express written permission from the publisher. moment) was mildly amusing.

Subscriptions: www.stashmedia.tv Submissions: www.stashmedia.tv/submit Stephen Price Editor Contact: Stash Media Inc. 35 McCaul Street, 305A New York, Sept. 2009 Toronto, ON M5T 1V7 Canada [email protected] Curated in New York. Printed in Canada. stash 62.01

Cadbury “Cocoa Beams” TVC 4:56

Agency: Fallon Director: Ringan Ledwidge Production: Rattling Stick VFX: The Mill www.the-mill.com Cadbury’s fair trade policy on cocoa gets the magic realism treatment in this music video which also hit the air as a :60 cut down. Barnsley, lead 2D at The Mill in London: “Given that nearly half of the 200-plus shots required some amount of FX work and the editing process was ongoing until the end, this project was always going to involve burning a little midnight For Fallon For The Mill After Effects: Bob Wolf, Nils Kloth oil, particularly as the deadline CD: John Allison, Chris Bovill Producer: Gemma Smith 3D: Josh Fourtwells, Sergio Xisto, approached, less than four weeks Creatives: Filip Tyden, Dan Watts Colorist: Mick Vincent Per Bergsten, Jamie Lancaster, after filming wrapped. Producer: Gemma Knight Lead 3D: James Sindle, Rob Stipp, Graeme Turnbull ,Suraj Tom Bussell Odedra, Teemu Eramaa For Rattling Stick “Of course with an open brief like Lead 2D: Barnsley Bean concept: Dave Gibbons, Director: Ringan Ledwidge this, the approval process is left Lead Flame: Barnsley, Gary Driver Ross Urien, Carlos Nieto Producer: Sally Humphries open much later than normal, Shoot supers: James Sindle, Z Brush: Tom Blake DP: Franz Lustig indeed right up to the deadline.” Gary Driver Toolkit For Work Post Flame assist: Ilia Mokhtareizadeh Flame, After Effects, Baselight, Editor: Rich Orrick Combustion: Adam Lambert Combustion, Maya, Nuke, Z Brush stash 62.02

Duracell “Bunny Fusion” TVC :30

Agency: Ogilvy, Paris Director: Pleix was a real nightmare to fine tune Production: and manage. We used Real Flow Chuck & Lulu to create the waterfall, swirl and Animation: some extra bunnies hanging onto Digital District the giant sumo. The lighting is very www.digitaldistrict.fr simple, a diffused skylight and dimmed sunlight to create some French directing collective Pleix subtle shadows, and some CG fur and Paris VFX studio Digital on the closest bunnies. District conjure a maelstrom of particle-controlled cuteness for “The most difficult creative Duracell. challenge was to make something not too busy visually, fast but not Pleix: “The agency came up with a too fast, and to stay readable.” first storyboard. We helped them on the creative side by making an For Ogilvy, Paris animatic to convince the client to Ex CD: Chris Garbutt make this film. The animatic tested CD: Nick Hine better than any previous one done AD: Antoaneta Metchanova for Duracell, and the new look of Producer: Caroline Petruccelli the CG bunnies excited everybody. For Chuck & Lulu “The sumo, elephant and train Director: Pleix are power symbols requested EP: Edward Grann by the agency since they were Line producer: Katharina Nicol already working with them on Post producer: Sebastien Gros print projects. Thinking Particles Music: Apollo Studios, Montreal was used to control the behavior Toolkit of thousands of bunnies going 3ds Max, Thinking Particles, from one entity to another and it V-Ray, Real Flow stash 62.03

Coke Zero “Happy Kingdom” TVC 1:45

Agency: Ogilvy Argentina Director: Pete Candeland Production: Passion Pictures Animation: Passion Pictures www.passion-pictures.com Passion Pictures producer Debbie Crosscup: “The brief was to create this crazy Coke Zero kingdom mixing medieval styling with a bit of rock and roll. We got a detailed script from the agency so the basic story was there - we just had to For Passion Pictures Brown, Matthias Bjurstrom, Nico Domerego, Dan Sweeney, make it really cool and put a new Director: Pete Candeland Doug Lassance, Dan Sweeney, Doug Lassance spin on the somewhat staid idea Producer: Debbie Crosscup Craig Maden Lighting/rendering: of an animated medieval kingdom. EP: Hugo Sands, Michael Adamo Rigging: Chris Dawson, Quentin Vien, Guillaume Cassuto, We desperately didn’t want it to Head of CG: Jason Nicolas Francois Pons, Julian Hodgson Claire Michaud, Rick Thiele feel like another take on Shrek.” VFX super: Neil Riley CG animation super: Wes Coman Lead compositing: Niamh Lines Schedule: 16 weeks. Technical director: Julian Hodgson Animation CG: Cath Brooks, Compositing: Johnny Still, Directors assistant: Giles Dill Chris Welsby, David Sigrist, John Taylor, Lee Gingold For Ogilvy Argentina Storyboarding: Kevin Dart, Melanie Climent Editor: Jamie Foord, Ex CD: Gastón Bigio Kim Frederiksen Animation FX: Jamie Franks, Dan Greenway Head of art: Jonathan Gurvit Character design/development: Tommy Andersson For The Jungle Group CDs: Javier Mentasti, Christian Ron Kurniawan, Pete Candeland, AD: Mario Ucci Sound Mix: Toby Griffin Camean Dan Sumich, Mario Ucci Texture\shading: Mario Ucci, Music: Power Solo Creatives: Mariana Peluffo, Prod coord: Crystal Crompton Ian Brown, Sally Wilson, Rick Matías Lafalla Matte painting/backgrounds: Kim Thiele, Matthias Bjurstrom, Toolkit Producer: Laura Passalacqua Frederiksen, Lukasz Pazera Melanie Climent, Craig Maden, XSI, AFX, Nuke, Rushes CG modeling: Mario Ucci, Ian stash 62.04

Rocky “Education”, “Meal Health”, “Quality Control” TVCs/virals :20 x 3 Client: Fox’s Biscuits Agency: Mother, London Director: D.a.d.d.y. Production: Blinkink Animation: Golden Square www.goldensq.com Producer James Bretton at Blinkink in London: “The most interesting thing about the project is we weren’t blessed with a very big budget so the creative hurdle we had to jump was to embrace that fact rather than shy away from it. “The main thing then was to For Mother London Sound: Factory approach everything, from the VO Producer: Craig Keppler to the art direction, very seriously, For Cable Spaghetti Creatives: Josh Engmann, as if we were creating real life Music/Sound Design: George Kyle Harman-Turner educational videos. The script was Brennan Director/editor/animator: D.A.D.D.Y. already really funny so we had to Toolkit make sure it was delivered well For Blinkink 3ds Max, V-Ray, Photoshop, After and the timing of the animation Producer: James Bretton Effects wasn’t fighting it – the rest was easy(ish).” stash 62.05

Real MINIMALISM Viral :60 For Webguerillas GmbH Client: CEO: David Eicher MINI Brand Management CD: Colin Conrad Sr PM: Moritz Capelle Agency: Webguerillas, Munich For Living Room Pictures Producer: Jochen Hirschfeld Director: Assistant producer: Patrick Lange Jochen Hirschfeld Director: Jochen Hirschfeld Production: Assistant director: Christian Lang Living Room Pictures DOPs: Jürgen Kling, Leevi Animation/VFX: Lehtinen, Bartek Latosinski Living Room Pictures Motion control camera: steps. If an object is small and the weirdoughmationfilms Jürgen Kling joint at the animation rig is small then www.livingroompictures.de Assistant DOP: Norbert Kleiner it is hard to advance the joint in tiny www.weirdoughmation.de Main animator: Jürgen Kling steps. But end of story, we figured it Animator: Leevi Lehtinen Jochen Hirschfeld, director/producer out with the regular markers. Assistant animator: Robert at Living Room Pictures, Munich: “Also the whole score was Martinovic “Once we decided against 3D composed and recorded with real Props department: Andreas animation, it was really fun doing instruments. No digital samples. We Schramm, Robert Martinovic, everything from scratch and for real: even took a MINI for a test drive on a Jürgen Kling, Tanja Hirschfeld, figuring out the props; working on the special driving lot and recorded our Andreas Reim final look of the markers; all that ink own sound effects.” Editior: Christian Lang everywhere. Post super: Jochen Hirschfeld “Things that are easy in the digital Schedule? “Two weeks of planning Animatic: Inés Borrás 3D world like motion and camera and animatic, two weeks of stop Compositing: Andreas Gebauer, perspective suddenly become a motion animation, four weeks of post Inés Borrás challenge in stop motion animation. including sound design and mix.” Musical super: Christian Lang For the showdown shot of the Watch Behind the Scenes on For Artist Studio hero pen diving under the falling fat Composer: Peter Lang marker, we almost had to build larger the DVD. scaled models. Since we wanted to Toolkit show this in super slow motion we After Effects, Photoshop, Final Cut, needed a lot of in between animation Flair, eXposer stash 62.06

MSN TALK “Butterfly” TVCs :30 x 2

Agency: Taxi Canada Director: Ash Bolland Production: Umeric Animation/VFX: Umeric www.umeric.com Sydney’s Umeric help Taxi Canada relaunch MSN.ca with a striking pair of lepidopterans designed to communicate the contents of the website. “We wanted the butterflies to feel as realistic as possible even though they had tank turrets and hockey sticks attached to them,” butterfly and understand what For Taxi Canada 3D: Alberto Santiago, says Umeric producer Von Dekker. content it represented. Ex CD: Stéphane Charier Tim Clapham, Gary Leung “It was a challenge to not make “Setting up the rigs was difficult Copy: Andrea Usher-Jones, Lead animator: Duncan MacLaren the butterflies too overloaded as because the butterfly had to Maxime Patenaude Compositors: John Kitching, once they were translated from 2D transform so many times: out ADs: Jean-Luc Dion, Carlo Monaghan concept to 3D, the flapping would of the cocoon; then fly; then ice Patrick Chaubet Texture: John Kitching, cause the elements to collide with over; then freeze; then melt and Producer: Josee Frechette Benjamin Hennessy each other. fall apart. We ended up using Sound/music: Sonart, Appolo Storyboard: Simon Cowell “In animation we focused on a mixture of cloth simulations, For Umeric Toolkit: working out realistic flight and wing bones/joints, dynamics, expresso Director: Ash Bolland Cinema 4D, Photoshop, After beats, the butterflies had to feel and morph targets.” Producer: Von Dekker Effects, Shake, ZBrush like they moved with the random Concept designers: Ash Bolland, flight of an actual butterfly but we Benjamin Hennessy, Simon Cowell still needed to be able to see the TD: Tim Clapham stash 62.07

FEMA “World Upside Down” TVC :60

Client: Ad Council Agency: Cramer-Krasselt Director: Derin Seale Production: @radical.media VFX: Asylum www.asylumfx.com A barrage of flying props – held aloft on wire rigs, shot falling on greenscreen or, in the case of the largest objects, created in CG – are wrangled into a striking :60 by the team at Santa Monica VFX blowing in the wind of massive EP: Frank Scherma Trackers: Tom Stanton, Apirak studio Asylum who also retimed fans, to the set lighting was Producer: Samantha Storr Kamjan, Michael Lori and warped the six overlapping beautifully done.” HOP: Cathy Dun Lighter: Aaron Vest core passes to sync the action. Animators: Michael Shelton, For Cramer-Krasselt For Asylum Steward Burris Asylum lead VFX/Inferno artist EVP/CCO: Marshall Ross EP: Michael Pardee Texture painting: John Hart Rob Trent: “Putting together GCD: G. Andrew Meyer Bidding producer: Michael Hanley Roto/paint: Jason Bidwell a spot with so many moving Co-ex CDs: Dean Stefanides, Producer: Ryan Meredith Roto: Elissa Bello, Stephanie Ide, parts, especially under tight time Larry Hampel Lead VFX/Inferno super: Rob Trent Scott Baxter, Hugo Dominguez constraints, is always challenging, Sr AD: David Levy Inferno: Miles Essmiller, Roto/Shake: Johnny Weckworth but Derin Seale’s production crew Copy: Andrei Chahine Mark Renton really knew how to get the actors VP/director of broadcast CG Supervisor: Zachary Tucker Editorial: Whitehouse, Chicago moving correctly on the wires on Production: Sergio Lopez Lead modeler: Greg Stuhl shoot day, and everything from the Modeler: Toshihiro Sakamaki Toolkit choreographed wire-lift of mom For @radical.media Flame, Shake, Silhouette, Maya, and dad, to the clothing and hair Director: Derin Seale SynthEyes stash 62.08

Central China Television “Ink” TVC :60 For Mass Media International Agency: Advertising Co. Ltd. Mass Media International CD: Zhou Jiahong Advertising Co. Ltd. AD: Wu Hao Director: Copy: Zhou Jiahong, Sophia Xu Niko Tziopanos Storyboard: Wu Hao, Liang Yuanchun Production: Troublemakers.tv For Troublemakers.tv weareflink Producer: James Hagger Animation: For weareflink weareflink Director: Niko Tziopanos www.weareflink.com Producer: Andreas Lampe Hamburg film and motion design CG/compositing: Alexander Heyer studio weareflink dive head first Compositing: Martin Hess into uncharted waters for this CG: Philipp Von Preuschen, elegant and ethereal exercise in Timo Schaedel storytelling with digital ink. Ink/footage: Thore Bornemann Ink/making of: Felix Martens “Technically we had a lot of Prod coordinator: problems to solve. We are used Catharina Foelling to live action liquids but this time PA: Aurelie Da Silva we had to change our strategy because of the very concrete For Supreme Music images and motion required. In six Music/sound design: very short weeks we had to solve Florian Lakenmacher the creative challenge, learn the For MoCap Lab freshly-purchased software and MoCap: Remi Brun, find a workflow which combines Frank Vayssettes, Thomas Oger our different skills.” Schedule: five and a half weeks. Toolkit Cinema 4D, 3ds Max, Fume FX, Krakatoa, XSI, After Effects stash 62.09

The History Channel “Ax Men” Viral 1:22 Agency: Karmarama Director: Chris Shepherd Animation: Slinky Pictures www.slinkypics.com To launch the second season of The History Channel’s “Ax Men” series, London’s Slinky Pictures and director Chris Shepherd crafted this manic lumberjack vs. the trees viral in the guise of a stick-man homage to Bruce Lee and The Matrix. The main creative challenge according to Slinky producer Ryan Smith “was trying to fit so many fun ideas into the film and still make it work as a single piece - this coupled with a swift turnaround – all 2D Flash For Karmarama animation and the 3D Matrix-move Creatives: Rob Neilson, and final composite (both handled Jack Stephens in After Effects) were wrapped in just under a month.” For Slinky Pictures Director: Chris Shepherd Producer: Maria Manton Animation: Jason Kotey, Rob Ward Toolkit Flash, After Effects stash 62.10

Flash on the Beach 2009 Event titles 2:00

For Artillery Directors: Animators: Ginny Robertson, Garth+Ginny Garth Jones, Felix Massie Production: AE compositing: Richard Tilley, Artillery Garth Jones Music: Meducktions Animation/VFX: Composer: Rich Lewis Artillery Garth+Ginny Toolkit www.artillery.tv Flash, After Effects www.garthandginny.com Watch Behind the Scenes on The coastal city of Brighton, the DVD. UK gets a charming character makeover from local design and animation shop Artillery in this title sequence for the 2009 Flash on the Beach Conference. Garth Jones (one half of directing duo Garth+Ginny): “We were interested in the forms that shadows make around the city and how beauty can be found in unexpected locations. The creatures are a device to make others see the city the way we do – not just concentrate on the familiar tourist landmarks but the beauty of the less obvious and unique architecture that Brighton holds.” The 2D Flash characters, still photography and live action video were composited in After Effects. stash 62.11

Typophile Film Festival 5 Opening titles 3:41

Client: Punchcut/Typophile Production: Brigham Young University www.byu.edu Brent Barson creative director and faculty mentor at Brigham Young University in Provo, Utah: “The brief was very brief. Typophile wanted us to properly introduce and brand this fifth version of the Film Festival, which is open to anything relevant to typography. We came up with the five senses, and how they feed our creativity. “We really struggled to find a story or conceptual thread to go through this project – we knew we wanted to create something wildly sensory that would stimulate the senses while it showed how the senses plan was to shoot the whole different lenses. We finally got you actually get it in front of the influence our creativity. sequence with the Canon EOS the time lapse set up and running camera – you get sore when you’re “Technically, we had to learn the 40D and make a seamless only to find out 24 hours later the hunched over, animating in a four- ins and outs of laser-cutting, and transition into the time-lapse computer was scheduled to shut inch square with a tooling needle the structural characteristics of segment, but when we got to the down. So we ended up losing a for 12 hours.” Jello and squash...both are very transition, we ended up needing day’s time-lapse and having to Schedule: two months for concept fragile. I think we all learned a ton the 40D and the camera rig for reset all the squash letters with a and storyboards, two weeks of patience – kerning on purple fur another shot so we had to switch new set, then having to rematch to shooting, two weeks for edit and is no picnic. over to the Nikon on a tripod. On the original transition. post-production. top of having to match the angle, “The squash time-lapse segment “In general there’s a lot of stuff you exposure, and lens distortion was a serious pain. The original don’t think will be a problem until between the cameras and totally For Brigham Young University Construction/paint/glue: Brent Editing: Brent Barson, Productions, Font Bureau, CD/faculty mentor: Brent Barson Barson, Wynn Burton, Analisa Wynn Burton, Analisa Estrada, Verite, Bethanne Anderson, Writers: Brent Barson, Jessica Estrada, Meg Gallagher, Olivia Meg Gallagher, Reeding Roberts Paul “P-Dudey” Adams, Linda Blackham, Analisa Estrada, Meg Juarez Knudsen, Casey Lewis, Hand models: Analisa Estrada, Reynolds, Adrian Pulfer, Amanda Gallagher, John Jensen, Regan Reeding Roberts, Deven Stephens Meg Gallagher, Olivia Juarez Knight Hall, Nag Champa, Fred Johnson, Colin “The Pin” Brain sculpture: Brian Christensen Knudsen, Deven Stephens, Joe Pemberton, Jared Benson, Pinegar Animators: Brent Barson, Wynn Michelle Stephens Zara Evens Storyboards: Brent Barson, Burton, Analisa Estrada, Meg Original Music: Micah Dahl Toolkit Jessica Blackham, Analisa Gallagher, Olivia Juarez Knudsen, Anderson Dragon Stop Motion, After Effects, Estrada, John Jensen, Regan Fred Reeding Roberts, Deven Stephens Special thanks: Kevin “Laser” RED One, Canon EOS 5D Mark II, Johnson, Colin “The Pin” Pinegar Cinematographer: Wynn Burton Cole, Eddie King, Rubberball Canon EOS 40D, Nikon D80. stash 62.12

AICP Show 2009 “Kinetic Type” Sponsor reel 3:37

Director: outweighed the technical Scott Wenner parameters.” motion504 crafted Production: all visual elements of the open, motion504 including the 16 magical machines, from live action shoot to finish. VFX: motion504 For motion504 www.motion504.com CD/3D/compositor: Scott Wenner 3D/compositor: Amy Schmitt Scott Wenner, CD at Minneapolis EP: Eric Mueller design, VFX and animation studio Director: Scott Wenner motion504: “As a huge fan of films DP: Bo Hakala like Delicatessen and City of Lost AD: Sarah Jean Kruchowski Children, I love the aesthetic of Producer: Todd Cobery combining elements from different Editor: Joe Martin time periods, mixing the old and the new. While the period in the For BWN film is purposely unknown, this Sound designer: Carl White is how we envision the earliest Toolkit motion graphic designer. ZBrush, Cinema 4D, After Effects, “The biggest challenge we Photoshop, SynthEyes, Final Cut, faced had to do with the AICP’s Apple Color, Excel only caveat: sponsor names may change at any time during production. This meant the 3D models must be built flexible, interchangeable or even newly created at moment’s notice. “The project certainly required us to be nimble, but the creative liberties we were given far stash 62.13

Holland Animation Film Festival 2009 Opening titles :40 Director: Motomichi Nakamura Animation: Motomichi Nakamura www.motomichi.com Brooklyn-based director/animator “Lastly, I wanted the animation Motomichi Nakaura: “There were to have a circular pattern so it three aspects I focused on while would start and end with the main working on this trailer. First, I character falling off the stairways.” wanted it to be very fast paced Schedule: two weeks for sketches so that people would feel like they and storyboards; three and a half needed to watch the trailer a few weeks to animate. times in order to find all the little Director/animator: graphic details and clues. Motomichi Nakamura “Second, since the animation Music: Tonylight involves simple, geometrical Toolkit shapes I was concerned it may Flash, Final Cut Pro turn out to be too linear so I decided to play with scale and make the size of objects in the animation inconsistent. For example, the main character is about the size of a human head at the beginning but later is as big as a house. Enter code: 61DPSSF1 at: www.stashmedia.tv/promo to SAVE 25% Here’s your chance to own 30 extraordinary short Stash SHORT FILMS 1 delivers an international films by today’s most innovative directors – over two- program of festival hits and little-known gems PLUS and-a-half hours of sheer entertainment from Stash behind the scenes extras and a 40-page book of stills, DVD Magazine. credits, production notes and links for every project. stash 62.14

Klik! Amsterdam Animation Festival 2009 Festival opener 1:10 Directors: Bobby de Groot, SVEN NEVE, ARJAN VAN MEERTEN Animation/VFX: House of Secrets www.houseofsecrets.nl The Klik! Amsterdam Animation Festival gave the boys at Dutch studio House of Secrets three key ideas to drive the 2009 festival open: erotica, Amsterdam and a click toy. Co-director Bobby de Groot: “Technically the challenge was to find an easy and suitable technique to make the boobies bounce. We tried a lot of different techniques, but most of them didn’t give the desired result, especially when she bends forward to the camera. Eventually we settled on a combination of particle springs and animation.” For House of Secrets Camera assistant: Boudewijn Rolff Toolkit Schedule: six weeks. Directors: Bobby de Groot, Boom operator: Menno Vermeulen Maya, Fusion, Photoshop, 3d Sven Neve, Arjan van Meerten Actor: Sander Kamermans Coat, REDCINE, After Effects, For Klik! Amsterdam Animation Additional 3D: Percy Tienhooven SpeedEDIT For FC Walvisch Festival Additional 2D: Jean-Paul Tossings Music/sound design: Lea Jurida Commissioners: Yvonne van Animators: Nanda van Dijk, Kasper Ulden, Dario van Vree, Ophof, Frian Lit, Ruud Renting, Special thanks: Team Facilties, Jiek Weishut Loes Vrielink, Gurkan Yilmaz, FC Walvisch, Nmtrix Animation Cihan Gultas Studios Camera: Mladen Vekic stash 62.15

Blackhole Music video 2:10

Director: Arjan van Meerten Production: House of Secrets Animation/VFX: Arjan van Meerten www.arjanm.com Arjan van Meerten, director and partner House of Secrets in the Netherlands: “I wanted to make both the video and the music so I started making a song, and inspired by that, I created some images, and inspired by that, I modified the song again, and so on. Because this was a personal project and I had no deadline, the hardest part was to decide when a shot was finished and go on to the I worked on it for one or to weeks next. I could have gone on forever straight then I didn’t touch it for tweaking those shots. months. There are several other music videos I am working on and “It was a big challenge to make hope to finish them in the near sure everything was able to render future.” within a reasonable time. There was one shot which was taking Watch Behind the Scenes on eight hours to render one frame – the DVD. eventually I got the time down to Toolkit 20 minutes. Maya, Fusion, Photoshop, “I started the project two years ago SpeedEDIT, Cubase SX4 and worked on it in the evening and in my spare time. Sometimes stash 52.16

SJQ “Pico” Music video 5:40

Record label: cubicmusic/HEADZ Director: Takafumi Tsuchiya Animation: Takcom™ www.takafumitsuchiya.com Japanese video artist Takafumi Tsuchiya generates visuals directly from the digital music file to stake out a mesmerizing and unpredictable landscape in this interpretation of “Pico” from experimental jazz quintet SJQ. “To do the synchronization perfectly, I first disjointedly resolved the element of the track to the fragment of sounds. This trial and error was repeated many times until each fragment of the sound made the object react as I thought.” Created in four weeks on one “poor” machine, Tsuchiya says the elements of the video “were For Takcom™ arranged so as not to become Director/designer/animator/ too complex and destroy their compositor: Takafumi Tsuchiya correlation with the sound. I then carefully added a lot of key frame Toolkit animation.” After Effects, Cinema 4D stash 52.17

Diesel “Quique The Head” Viral 3:33

Agency: Shackleton Directors: Agustín Berruezo Andrés Muschietti Production: Toma 78 VFX: Infinia Barcelona www.infinia.es Barbara Muschietti, executive producer at Toma 78 in Barcelona: “Diesel asked for a character who lived without a body and had a normal life. They wanted him to be as real as possible. The main technical challenge was to try to figure out how a head would For Shackleton For Doble Nelson move on its own without a body. Ex CD: Enric Nel.Lo Directors: Agustín Berruezo, We used a green suit for the body CDs: Pipo Virgós, Paco Badía Andrés Muschietti most of the time. And we were Technical development director: Editor: Agustin Berruezo blessed with Fernando Gayesky, Marc Sallent a supreme actor who made it all For Infinia Barcelona Producer: Cristina Cortizas happen.” Colorist: Jordi Murillo For Toma 78 Flame: Albert Herrero Shot with a Red One camera. EP: Bárbara Muschietti Body removal and final composite Toolkit HoP: Ricardo Carrasco where handled at post house Final Cut, Resolve, Flame Producer: Cristina Lera Infinia Barcelona. DoP: Sebastián Sarraute Production designer: Pancho Chamorro stash 62.18 “Experiment 5.6.5/10” Short film 5:00

School: Bezalel Academy of Art and Design Director/Animation: Noam Gelbart www.vimeo.com/noam Noam Gelbart prods the frontiers of the infographics genre with his thesis film about religious fanaticism created during his studies at Bezalel Academy of Art and Design in Jerusalem. “Creatively the challenge was to keep the narrative clear and understandable without revealing the topic in question right off. This made the scripting process a lot longer than I anticipated and left me with little time to actually get this thing made. that motion into the CG slides I Soundtrack design: Eitan Shefer Watch Behind the Scenes on “The biggest technical challenge made in After Effects. Narration: Shai Avivi, the DVD was the movement of the slides. “BTW – all the rules shown in the Maera Daniel Hagage After a couple days and thousands Additional scripting: Moti Gelbart Toolkit of keyframes, I realized getting a film are real rules from Judaism. After Effects, Photoshop, reliable hand-held motion was too Not passing between two women, Special thanks: Mom and dad, Illustrator, Maya, Mocha time-consuming for the schedule. only four fingers to wipe your Yotam Kellner, Danielle Ram, Eric I solved this by pointing a video bottom – seriously.” Schedule: Lerner, Nitzan Klamer, Miriam camera at the floor and manually Four months. Kramer, Ronit Mualem, Erez dragging a piece of paper exactly Script/direction/design/animation/ Cohen, Ori Cohen, Hila Carmeli, Guy Atzmon the way I wanted the slides to font-design: Noam Gelbart move. I then tracked and pasted Mentor: Erez Gavish stash 62.19

Halo 3 ODST “The Life” Game cinematic :00

Client: Xbox 360 Agency: T.A.G. Director: Rupert Sanders Production: MJZ For T.A.G. Compositors: Mark Renton, Caitlin Midori Witsken, Mark Duckworth, Animation/VFX: Ex CDs: Scott Duchon, Content, Steve Muangman, Miles Zac Chowdhury, Huey Carroll Asylum John Patroulis Essmiller, Rob Trent, Tim Davies, Wire removal: Bethany Pederson www.asylumfx.com AD: Aramis Israel Jonny Hicks, John Stewart, John Lead matte painter: Tim Clark Copy: Rick Herrera Weckworth, Brad Scott Design: Simon Cassels, Asylum picks up the call to war EP: Hannah Murray Smoke: Alex Gomez Aaron Benoit in this cinematic by MJZ’s Rupert Producer: Joyce Chen Lead modeler: Greg Stuhl CG super: Jens Zalzala Sanders for the new Xbox 360 Modeler: Toshihiro Sakamaki For MJZ For Final Cut release Halo 3: ODST (Orbital Lead animator: Michael Warner Director: Rupert Sanders Editor: Eric Zumbrennen Drop Shock Trooper). Portraying Animator: Samir Lyons EP: Eric Stern the hardened soldier Tarkov and Textures: John Hart, Ryan Reeb For MPC Production supers: Adriana his mission kept the Asylum CG Trackers: Tom Stanton, Colorist: Mark Gethin Cebada Mora, Melinda Szepesi and effects team busy with heavy Michael Lori Asst prod super: Courtney Nolen VFX integration into the live-action Lighters: Sean Comly, Aaron Vest, Music: Human Associate producer: David Lethem footage, character enhancements, Michael Comly Music producer: Mike Jurasits Producers: Laurie Boccaccio, particle explosions, plasma Effects animator/lighter: Sound Design: Brian Emrich Eszter Repassy weapon fire, CG drop pods and Yurichiro Wamashita For Lime Studios DP: Greig Fraser Banshee War Planes, in addition Effects animator: Mix: Loren Silber to a most unfriendly CG alien For Asylum David Schoneveld Toolkit encounter. VFX super/lead compositor: Lead roto: Elissa Bello Houdini, Maya, RenderMan, Rob Moggach Rotos: Hugo Dominuez, Laura Watch Behind the Scenes on SynthEyes, Flame, Nuke, EP: Michael Pardee Murillo, Daniel Linger, Bethany the DVD. Silhouette Producer: Ryan Meredith Pederson, Jason Bidwell, Coordinator: Emily Avoujageli Stephanie Ide, Scott Baxter, Bidding producer: Michael Hanley stash 62.20 with keyframe animation on a lot Hair/cloth simulation: “Dragon Age: Origins” of shots. The huge dragon also Becca Baldwin, Jon Jordan, Cinematic trailer 1:14 used up a lot of people’s energy, Tad Catalano, Paul Frieling from modeling to rigging and Lighting/compositing: Chris final animation.” Schedule: three Barischoff, Corey Butler, Darren Clients: months. Butler, Greg Kegel, Olivier Vernay- Electronic Arts For Blur Studio Kim, Daniel Trbovic, Dan Woje Bioware Director: Tim Miller FX: John Kosnik, Johanes Director: CG super: Jerome Denjean Kurnia, Seung Jae Lee, Andrew Tim Miller Animation super: Shaun Escayg Melnychuk-Oseen, Torbjorn Producer: Mandy Sim Olsson, Brandon Young Production: Mocap prep/clean-up: Ryan Blur Studio EP: Al Shier FX super: Brandon Riza Girard, Anthony Romero Animation: Layout super: Franck Balson Concept design: Sean McNally, Blur Studio Prod coordinator: Rachel de Jong John Park, Chuck Wojtkiewicz www.blur.com Layout: Franck Balson End tag animation: Jennifer Miller, With Tim Miller in the director’s Modeling: Heikki Anttila, Shaun Chris Kelley chair, Blur unveils their latest Absher, Heikki Anttila , Sze Chan, Matte painter: Bruno Werneck gaming opus: a taste of the stark Zack Cork, Chris Grim, Jinho PA: Amanda Powell and brutal life in the Dragon Age. Jang, Kris Kaufman, Stan Klabik, Tools/scripts: Karl “Krash” Goldshmidt, Eric Hulser, Jentzen Blur executive producer Al Shier: Jason Martin, Alex Litchinko, Daniel Trbovic, Olivier Vernay-Kim, Mooney, Tomas Pulmano “Dealing with realistic characters is Programming/systems admin: always a challenge so we decided Viki Yeo Rigging: Steven Caron, Ben Duane Powell, Jeremy Donahue, early on to hire real life actors that Paul Huang, Matt Newell looked the part and did 3D scans Durkin, Enoch Ihde, Michael of them. We then brought them Stieber, Brent Wiley, Jeff Wilson Composer: Rob Cairns Animation: Sebastien Bruneau, back later in the process to do the For ScansEyetronics facial motion capture – it definitely Thomas Cannell, Kyle Gaulin, Jason Hendrich, Bryan Hillestad, Character models: Victorria added that little bit of personality Johnson, Sasky Sengapon, to each one of the characters. Jeremiah Izzard, Nick Maw-Naing, Derron Ross, Leo Santos, Rini Alex Stein “One of the biggest challenges Sugianto, William Vanoost, Mocap stage: Perspective Studio was the blend of motion capture Jon Vener and keyframe animation. The Tech support: Brian McKee, Toolkit heroes have such superhuman Michael Stieber 3ds Max, XSI, Fusion, mental ray, powers we had to enhance the Adobe CS3 Production Suite motion capture of stunt actors stash 62.21

Nokia World 09 “Bennie” Nokia World 09 “Humans” Branded Film 1:33 Branded film 2:00

Agency: Director: Wieden + Kennedy London Matt Smithson Directors: Production: Janine Rewell Not To Scale Sami Syrjä Animation: Animation/VFX: Man vs magnet Agent Pekka www.manvsmagnet.com Fake Graphics Not To Scale director Man www.pekkafinland.fi vs Magnet (Matt Smithson) www.fakegraphics.com choreographed his novel Director/animator Sami Syrjä at characters into an involuntary Fake Graphics in Helsinki brings dance by looping their everyday the illustrations of fellow Finlander actions. The two-minute piece was (and first-time animation director) so well received at the Nokia event Janine Rewell to life in one of nine that plans have been laid to bring it animated films commissioned by to the web in a more official guise. Wieden + Kennedy for the Nokia For Man vs magnet World Conference 2009 held in Director/designer: Matt Smithson Suttgart, Germany. For Agent Pekka For Not To Scale Design/illustrator: Janine Rewell Lead animator: Arthur Metcalf Compositor: Daniel Oeffinger For Fake Graphics Animators: Peter Ahern, Kat Animation: Sami Syrjä Morris, Isam Prado Toolkit US producer: Courtney Fransen After Effects, Illustrator, Photoshop UK producer: Jade Caffoor Toolkit Flash, After Effects stash 62.22

Energy Saving Trust “Launch” TVC :30 Agency: Mother Directors: Tom & Mark Production: Nexus PRODUCTIONS Animation: Nexus PRODUCTIONS www.nexusproductions.com Nexus directors Tom & Mark initially planned the aesthetic for this spot as a simple vector style but as the team began animating the minimal design evolved into a low-relief 3D style. “There was something very satisfying about For Mother the way this world started to look Creatives: Ben Middleton, Stuart with just the smallest amount Outhwaite of depth added to it. We then decided to animate every single For COI object in the film, which was no Producer: Nicole Sloane small task.” For Nexus Modeled in 3ds Max, rendered in Director: Tom & Mark V-Ray and composited together in EPs: Julia Parfitt After Effects. Producer: Melody Sylvester Project lead: Ben Cowell, David Fleet, Mark Davies Sound design: Factory Toolkit 3ds Max, V-Ray, Photoshop, Flash, After Effects stash 62.23

They Might Be Giants “Meet The Elements” Music video 3:16

Record label: Walt Disney Directors: Matt Eller Bill Morrison Production: Feel Good Anyway Animation: Feel Good Anyway www.feelgoodanyway.com Co-director Bill Morrison (co- founder of Portland design and motion studio Feel Good Anyway): “FGA’s retention of junior high chemistry was totally inadequate for the project, so we hit the books and dialed up an expert (Eric Siegel of the New York Hall of Science) to help us create a molecular model that would please both the kids and their fact-loving science teachers. “Our hybrid version combines new, For Feel Good Anyway more complex/random electron Directors/producers/animators: orbits with a Bohr-esque simplified Matt Eller, Bill Morrison nucleus. We then added some Toolkit really cute faces for the ultimate in Final Cut, After Effects, Illustrator, scientific accuracy.” Photoshop stash 62.24

Lazee “Rock Away” Music video 3:52

Record label: 2Stripes Directors: David Nord Boris Nawratil Production: dnd Animation/VFX: FilmTecknarna www.filmtecknarna.se Stockholm’s FilmTecknarna bust out a visually decadent music video for rap artist LaZee in response to the three-word client directive: “just go crazy.” Trying to find the right balance between playing it cool and audacious irony, co-director David For FilmTecknarna Nord admits the challenge was Director/editing/compositing: “to not become complete comedy David Nord but still maintain the fun vibe. We Director/CGI: Boris Nawratil wouldn’t want to make fun of the CG: Aron Hagerman, artist, we wanted to have fun with Anders Mering the artist.” Key: Markus Krupa Cinematographer: Daniel Takcz The bling-tastic video, boasting a wealth of hip hop clichés, has Toolkit broken MTV Nordic records as XSI, Electric Image, After Effects, one of the most played videos in Final Cut the channel’s history. stash 62.25

“Angel Vitamina” Feature film trailer 2:07

Director: Diego De Rose Animation: Wujoco Animation http://wujoco.com Buenos Aries studio Wujoco has ambitious goals for expanding the Argentine long-form animation industry beyond service work and classically rendered children’s fare. Director Diego De Rose: “We created Wujoco Animation as a place where there are no creative limits. Our goal is to create original stories with innovative character designs and cool animation. Angel Vitamina reflects all of that; it is potentially a full-length animated movie and it was done without budget, sleepless nights and working weekends. For Wujoco Animation clean up/digital color/pencil tester/ Maximiliano Schneider, Martin Idea/story/character design/ in-between artist: Julieta Culaciati Daulerio, Fernando Toninello, “The government does not help storyboard/layouts/backgrounds/ Character/background clean up: Guadalupe Vyleta, Marta Artaza, the animation industry to grow in AD/digital color/animation/post Perla Riesco Angela Costantino, Santiago Argentina. So we are on our own. production: Diego De Rose Post production: Matias Vaca Drangosh, Julia Alen, Ramiro We could rest on our drawing Animation super/key animator/ Soundtrack/FXs/mixing: Hernan Cabrera, Mariana Culaciati, Néstor board complaining about the in-between artist: Daniel Duche de la Peña Vidal, Alejandro Moreno, Hook up situation or do something. We Layouts/model sheet/character 3D: Mauro Serei, Matias De Rose animation and De Rose family chose the second option.” clean up/background clean up/ Recording-sound fx: Toolkit key animator/in-between artist: Martin Baleztena After Effects, Photoshop, Flash, Amelia Vidal With the collaboration of: Claudio Toonz Character clean up/background Iriarte, Patricio Llorens, Brian and stash 62.26

Upgrade + Mobilize Short film / self promo 2:35

Director: Capacity Animation/VFX: Capacity www.capacity.tv Ellerey Gave, owner and CD of Capacity in Culver City, CA: “We like to think of Upgrade + Mobilize as a short film and an experimental branding piece. We’re a tight-knit group over here and we spend a lot of time together. Not just working, but playing: including movie nights, art exhibitions and gaming sessions. U+M gave us a chance to bring our individual strengths and personalities together with our shared interests to create something that really resonated with us as artists and storytellers.

“The characters needed to work shadows were going to interact matte paintings, textures, concept then thought the kanji could naturally both in silhouette and with the surfaces, especially in the sketches, and even painted on top be dissected to form English fully lit, which informed the kinds of characters’ faces. The end result of some of our final AE composites words. My favorite is the EVIL details we included in their armor is both dimensional and graphic, frame by frame. transformation. The typography and the actual contour of their allowing us to blend 2D and 3D “The typography in Upgrade + transforms, sprouts hair, and bodies. The play between light techniques into our own, freshly burns into ash, leaving a dark and and shadow is a big part of the Mobilize functions on multiple refined aesthetic. levels. We created custom kanji menacing feeling to go along with visual language of the piece. As the meaning of the word. we modeled the characters in 3D, “Digitally hand-painted artwork characters and then came up we had to constantly monitor how was a huge part of this project. We with an alphanumeric typeface “From a technical perspective, we busted out some Painter to create based on those proportions and really forced ourselves to develop and combine new techniques, all bonus, many of the techniques hone everything in – a double- Aaron Schurman, Jennifer Gave, of which were time-consuming. we developed during Upgrade edged sword for self-proclaimed Mataya Gave, Jill Marklin, Dave Besides the complex character + Mobilize are now part of our perfectionists, but somehow we Hummel, Anais Hong, Jonathan models, intricate typography and arsenal for client projects. reached a point at which we could Wilson, Anna Freelove, Kris painted backplates, we dove into “Because of how our schedule all agree it was finished.” Szumowski a combination of hand-animated worked out, we had to put the For Capacity Toolkit and procedural effects, particle piece on hold for several months Direction/animation: Ellerey Gave, Adobe CS, Cinema 4D, Corel systems, stylized hair, and layer at a time. Each time we let it sit, Alex Mapar, Benji Thiem, Mitsuka Painter upon layer of compositing to we came back with new ideas Thiem, Kenny Lutz, Ted Gore, get the look we wanted. As a and refreshed stamina to really Jonathan Larson, stash 62.27

“Oceansize” Short film 7:48 School: Supinfocom, Arles Directors/animation: Romain Jouandeau Adrien Chartie Gilles MaziËres Fabien Thareau [email protected] [email protected] [email protected] [email protected] Supinfocom Arles students Romain Jouandeau, Adrien Chartie, Gilles Mazières and Fabien Thareau combine marine terror with an environmentalist undercurrent to create their first film and an exceptional cinematic experience. The team had six months of pre-production and four full months for production but admit, “The main challenge of Oceansize was just to successfully finish the film.” They found the biggest technical hurdle was the amount of time and memory required to create the sentient and vengeful oil simulation. The film has garnered acclaim at many festivals but the directors claim they don’t care; they’re just looking forward to what’s next. AD: Romain Jouandeau Animator: Adrien Chartie Fluid simulation: Gilles MaziËres Lighting: Fabien Thareau Sound: Mario Sogno Toolkit 3ds Max, Real Flow, After Effects, Premiere, Photoshop stash 62 BONUS FILMS - RECENT GRADUATES MINI-FEST 1

“Down To Earth” “HP - Invent” Short film 2:52 Short film 1:20

School: challenge was to get it rendered Client: the creative mind can conceive.” Dutch Film and Television before the graduation festival so D&AD student awards The 80 second result has gained Academy we could get our diplomas – we the pair acclaim online and was Directors/animations: featured on BBC News. And what Directors/animators: used every computer in the visual Tom Wrigglesworth happened to all those printed Niels van der Heijden effects department that was Matt Robinson pages? “All the sheets printed Jairo Bambang Oetomo available, up to 30 dual cores.” www.tomwrigglesworth.com during the film have been used in Michiel Wouters Schedule: Seven months. www.matthewrobinson.co.uk a direct mail campaign promoting www.3DGFXStudios.com Sound: Juus Piek 5.1 Soundmix: Willem Stinissen Kingston University grads Tom the video.” Schedule: Five weeks. Co-director Niels van der Heijden: Wrigglesworth and Matt Robinson “We wanted the clean ‘designer Special thanks: Sem Assink, Toolkit responded with this film to the Final Cut Pro toys look’ and kept everything in Paulus Bannink, Willem Bos, D&AD student awards competition low detail because of the small Kyle Balda brief asking for “an idea which team and time was running fast. Toolkit promotes HP Workstations’ I have to mention: none of us LightWave, Maya, mental ray, Real ability to bring to life anything had made a character animation Flow, Fusion, Shake, Photoshop before. The main technical “Someone“ “Hemlock” Short film 5:23 Short film 3:49

Directors: something powerful and strong, Client: compositing and sound design) in Magali Barbé but also kind of fragile. When CGSociety Steampunk three months was very difficult. Jean Constantial we finally found these adjectives Challenge. and turned them into pictures, “The main technical challenge Animation/VFX: everything became a lot easier. Director/animation: was the rendering. I had only two Magali Barbé Schedule: Approx. four months. Tyson Ibele machines to do all the rendering, http://magmagblog.blogspot.com www.tysonibele.com and with tens of thousands Direction/animation/editing/ of frames for the final comp, Co-director Magali Barbé: compositing: Magali Barbé Tyson Ibele, based in Wellington, New Zealand created Hemlock managing rendering time was quite “Jean and I shared 50-50 all the Direction/lighting/rendering/ strenuous.” direction/creative work – it was editing/compositing: Jean for the CGSociety Steampunk complicated to find the look/style Constantial Challenge. “Each individual Toolkit we both liked, not just in terms of Additional work: Kristoph Staber aspect of the film was fairly 3ds Max, After Effects, Photoshop, rendering, but also the soul of the Music: Mathias Guererro, straightforward, but tying all the Vegas film. We worked together because Pierre Berneron processes together (character we like each others work, but design, modeling, rigging, it doesn’t mean our own styles Toolkit texturing, animating, rendering, were easy to mix. We both wanted XSI, Photoshop, After Effects Enter code: 62OBCSF1 at: www.stashmedia.tv/promo to SAVE 25%