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Stash 62 Book Web.Pdf 62 A Perfect 10 Perfection is elusive. But when achieved, things come together perfectly. What’s true in life is also true in audio production software. Introducing Sound Forge™ Pro 10 software, the 10th version of the legendary audio editing and mastering application. This one scores a perfect 10. Long the professional standard for analyzing, recording, editing, producing, converting and resampling audio, Sound Forge Pro 10 makes a great thing even better with these new features: event-based editing, integrated disc-at-once CD burning, élastique Pro timestrech and pitch shift plug-in, plus the Mastering Effects Bundle 2 powered by iZotope™ —valued at over $200, and more. Sound Forge Pro 10 delivers the ultimate all-in-one production suite for professional audio recording and mastering, sound design, NEW audio restoration, and Red Book CD creation. Power. Stability. Reliability. This one’s perfect. Visit your favorite retailer or www.sonycreativesoftware.com/perfect for special, limited-time offers on new Sound Forge Pro 10. Sound Forge Pro 10 Professional Digital Audio Production Suite Copyright © 2009. Sony Creative Software Inc. All rights reserved. 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: > 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 > 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.
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