Stash Media Inc. Editor: Stephen Price Publisher: Greg robins Managing editor: HEATHER GRIEVE Account managers: APRIL HARVEY, CHRISTINE STEAD Submissions coordinator: ABBEY KERR Proofing editor: MARILEE BOITSON Preview/montage editor: HEATHER GRIEVE Preview opening animation: TANTRUM Contributing producer: ERIC ALBA Technical guidance: IAN HASKIN

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Curated in New York, printed in Canada. Chances are good neither Frank Sinatra or William Shatner had thrillers like 2008 in mind when they recorded their versions of “It Was a Very Good Year”. Spreading economic turmoil supplied the main narrative arc for those very long 12 months with even US presidential hopefuls relegated to the role of supporting actors.

Thankfully, damage to our little corner of the media world was moderate. Many of the industry veterans I speak to say the challenges provided by 2008 actually helped strengthen the industry by shaking people up, getting them off their creative butts and making them rethink priorities and processes.

Does the work reflect this? Does the weather affect the vintage?

If so, it has all been for the best. Given the low visibility through the haze of doom and gloom, you might expect the applied motion world to put on the brakes, pull in its head and play dead. But screening the 97 extraordinary minutes of work on Stash The Best of 2008 I think you’ll discover just the opposite.

In fact, the fifth clip on this collection – Comcast “Faster” from Goodby, Silverstein and Partners with VFX by Animal Logic – provides a great metaphor for this industry in 2008: The over-caffeinated fighter pilot riding the tricked-out mutant rabbit is only interested in going faster...

... whether it was a very good year or not.

Stephen Price Editor New York, Dec ‘08 [email protected] stash 40.01

Discovery Channel “Footprint” Short film Client: Discovery Channel EMEA Director: Matt Lambert Production/VFX: Jellyfish Pictures www.jellyfishpictures.com Writer/director/designer/editor Matt Lambert recalls this project started when he was approached by Discovery Channel about a series of environmentally conscious short films they were commissioning. They were open to anything as long as it stayed in line with the voice of the network, and it had to work in all languages as it would be versioned for all of Europe, the Middle East and Africa. from scratch was a daunting but so they would move correctly with For Jellyfish Pictures “I was inspired by the moments of exciting challenge that meant I had the camera movement.” Writer/director/designer/editor: to dedicate a few weekends and Matt Lambert minutiae in our lives that leave long Post schedule: Three months lasting impressions on the location all-nighters. To overcome most VFX producer: Stefano Salvini in which they happened. This of the rendering times, I lit and Read more technical notes at TD/lead 3D: Matt Chandler Lead moment had the ability to continue rendered huge projections maps www.stashmedia.tv/40_01 2D: Fabio Zavetti that I could project back onto the Score/sound design: a dialogue between the place and Watch Behind the Scenes on scene geometry. This way, all the Ben “HECQ” Boysen person long after they were gone. the DVD. lighting information was baked Toolkit “There were a number of technical into the projection map, allowing For Discovery Channel EMEA 3ds Max, Brazil, Zbrush, challenges that arose, mostly sweeping camera moves with CD: James Gilbey Photoshop, Combustion, Fusion involving shaders and rendering. small render times. The reflections Producer: Bruce Meier The sheer volume of events were rendered separately and that had to be created digitally composited back over the top later stash 44.02

For RKCR Y&R BBC iPlayer “Penguins” Sr CD: Mark Roalfe Viral CD: Paul Silburn

For Red Bee/Gorgeous Agency: Director: Vince Squibb RKCR Y&R Producer: Sarah Caddy Directors: For Passion Pictures Vince Squibb, Director: Darren Walsh Darren Walsh Producer: Belinda Blacklock Production company: EP: Andrew Ruhemann Red Bee Head of CG: Jason Nicholas Gorgeous CG coordinator: Chris Knott Passion Pictures VXF super: Neil Riley Animators: Wes Coman, Animation/VFX: Chris Welsby, Brian Ayres, Passion Pictures Kristian Antonelli The Mill Lighting/rendering: www.passion-pictures.com Nuno Conceicao, Claire Michaud, www.the-mill.com Sajjad Amjad, Quentin Vien No doubt one of the most Compositors: Niamh Lines, Ed convincing April Fool stunts ever Salked, Giuliano Cavalli, Neil Riley committed to video, this viral Rigger: Chris Dawson raised the profile of the BBC’s Modeling: Nuno Conceicao, iPlayer among millions of web Stuart Hall viewers – many of whom now For The Mill believe penguins can fly. The Producer: Lee Pavey clip is part of a 50-year annual Flame: Barnes tradition at the broadcaster for Flame assist: Adam Lambert, producing mischievous stories to Richard Betts mark the first of April. The Passion Smoke: James Pratt Pictures team started by trolling through hours of penguins and Toolkit other seabird footage from the Flame, XSI, Maya BBC archives and ultimately based the fictitious flapping on the flight characteristics of the guillemot. stash 45.01

Audi “RS6 Gymnasts” TVC and cinema :60

Agency: Bartle Bogle Hegarty Director: Paul Hunter Production: Pretty Bird Post: The Mill www.the-mill.com The stunning centerpiece of a £4 million multi-platform campaign for Audi UK designed to both launch the 10 cylinder RS 6 Avant and affirm Audi as a performance brand of vehicle. The troupe of gymnasts was shot in Budapest by LA-based director Paul Hunter and assembled into this mesmerizing minute by The Mill in London using Flame, Shake and Maya. For Bartle Bogle Hegarty CD: Nick Kidney, Kevin Stark Creative team: Toby Allen, Jim Hilson Planner: Rachel Hatton For The Mill Flame assist: Gareth Parr, Toolkit Producer: Olly Chapman Producers: Darren O’Kelly, Andy Bate, Adam Lambert Flame, Shake, Maya, Baselight For Pretty Bird Harry Jones Shake: Han Ter Park Director: Paul Hunter Telecine: Mick Vincent Previz team: Rob Van Den Bragt, Producer: Kertin Emhoff Lead Flame/VFX super: Fabrice Le Nezet, Jules Januad, DOP: Alex Barber Yourick Van Impe Francois Roisin stash 44.04 Dunkelziffer “Tentacles” Cinema/TVC :30

Agency: Red Rabbit Werbeagentur GmbH Director: The Vikings Production: Rokkit VFX: Absolute Post www.absolutepost.co.uk Possibly the most disturbing and resonant TV commercial you will see this year. Co-director Bjoern Ruehmann of The Vikings: “The brief was very broad: to draw attention to the situation of abused children and the fact child abuse is very often kept secret - by the relatives of victims and by society. There are a lot of facts you can For Rokkit For Absolute Post feeling in the viewer - something communicate to raise awareness, Producer: Luke Jacobs Lead Flame: Nathan Kane between repulsion and empathy. but there are also a lot of clichés. PM: Alex More Combustion: James Cornwell And we got exactly that reaction. The client was clear they didn’t Location manager: Maya: Jamie White, Matt Burn, Especially the feedback of child want any of those clichés. Thus Paul Manwaring Toby Walton, Minh Nguyen-Ba, abuse victims was amazing - most the Vikings decided to concentrate AD: Kem White Maria Eugenia Octantos, of them say this commercial shows on showing the trauma abused Post production producer: Vania Alban-Zapata exactly how it feels if you were children suffer from, and we had to Lisa Vaughan Shoot super: Richard Nelson abused.” achieve an emotional impact since 3D/super: Richard Nelson VFX producer: Lisa Vaughan child abuse is a lot about emotions and not some rational topic. We Toolkit tried to evoke a specific Flame, Combustion, Maya stash 47.01

Comcast “Rabbit” TVC :60

Agency: Goodby, Silverstein & Partners Director: Noam Murro Production: Biscuit Filmworks Animation/VFX: Animal Logic www.animallogic.com Jamie Barrett, CD, Goodby, Silverstein & Partners: “The idea for ‘Rabbit’ came out of the line ‘Comcast makes fast faster.’ We started with a rabbit and it just exploded out from there. We just kept trying to up the ante. At one For Goodby, Silverstein & For Bikini Edit For Company 3 point we had a line about the Partners Editor: Avi Orin Colorist: Dave Hussey CD: Jamie Barrett Assistant editor: Paul san Filippo whole rabbit/panther thingy all For Trinitite Studios Copy: Mike McKay EP: Gina Pagano placed in an industrial blender and Sound designer: Brian Emrich Group CDs: Chris Ford, set to puree. But then thought that For Animal Logic Mike McKay Graphics: Superfad might not be the prettiest image CD: Bruce Carter ACD/AD: Nick Spahr to put in a television commercial. Producer: Nerissa Kavanagh Toolkit EP: Tanya LeSieur Noam was all over every frame of ADs: Ben Walsh, Michael Halford Maya, Flame, Photoshop Assistant producer: Peg Oberste this spot from day one, and Bruce Lead compositor: Carter from Animal Logic was For Biscuit Filmworks Nicholas Ponzoni incredible, just relentless in getting Director: Noam Murro CG leads: Andrew Jackson, it right.” Sr. EP: Shawn Lacy Andreas Wanda EP: Colleen O’Donnell For Brickyard VFX Producer: Jay Veal 2D: Patrick Poulatian DOP: Jo Willems Producer: Diana Young stash 51.03

Barclaycard “Waterslide” TVC 1:30

Agency: BBH Director: Peter Thwaites Production: Gorgeous Post: The Mill www.the-mill.com British actor Robert Wilfort (Stacey’s gay older brother on the UK sitcom Gavin and Stacey) adds the perfect human counterpoint to the 110 technically intensive VFX shots completed by The Mill for this Barclaycard spot. Jordi Bares, joint head of 3D at the Mill: “We knew it would be a difficult For BBH For The Mill project due to the logistics, but we Creatives: Gary Mcreadie, Producer: Liz Browne were involved at the early stages Wesley Hawes Lead Flame: Jonathan Westley which benefited all parties as we CD: Pete Bradley Flame assist: Adam Lambert went through the possibilities Producer: Nerine Soper, Telecine: Adam Scott before agreeing on computer Angela Zabala 3D Producer: Miles Petit graphics.” Technical challenges? 3D: Hitesh Patel, Jordi Bares, Rick “The team worked very hard on all For Gorgeous Thiel, Richard Costin, Sergio Xisto areas, from lighting and rendering Director: Peter Thwaites complex surfaces on such a DP: Marcello durst For Work huge scale to the animation of the VFX supervision: Editor: Neil Smith character inside the slide and his Austen Humphries, Hitesh Patel Toolkit interaction with the water Producer: Anna Hashmi Baselight, Flame, Maya around him.” stash 46.01

“Postman Returns” Short film

Director: Mischa Rozema Production: PostPanic Animation: PostPanic www.postpanic.net Stash 19 led off with a promotional short from Amsterdam studio PostPanic called “Postman”. It was shockingly original and highly entertaining and has since garnered wide acclaim. And now, two years later, the Postman returns in what the studio promises will be an ongoing series of films. Director Mischa Rozema: “Basically the Postman films become a kind of instructional series of tales on how to destroy the world or create panic. It’s not about destruction, it’s the way you destroy/panic. It’s all about attitude. I also love the fact that it’s this PostPanic world where anything is possible – Postman 1 had edible nuclear clouds and Postman 2 also has some really surreal elements. It’s also always such a buzz to see how things you sketch in a notebook come alive through animation and sound design – that’s the best thing about working on your own short films, no one can make you compromise your vision. The biggest challenges we (myself and Ivor Goldberg, head of 3D) had on this production was how to execute some of the physics of the animations, in particular with scenes displaying insane movements of objects, but it was still all fun and that’s the driving force behind making this series of films.” Watch Behind the Scenes on the DVD For PostPanic Writer/director: Mischa Rozema Design: Mischa Rozema Animation: Ivor Goldberg Producer: Annejes van Liempd EPs: Ania Markham, Jules Tervoort For Massive Music Sound design: Guy Amitai, Lawrence Horne (Kaiser Sound Studios) Music license/production: Lodewijk Pöttker Toolkit 3ds Max, After Effects, Illustrator, Photoshop stash 43.09 TOCA ME Event titles Client: TOCA ME Design Conference Director: Dvein Production/animation: Dvein www.dvein.com “The TOCA ME festival asked us to make an opening title sequence based on this year’s conference theme, ‘Beyond Surface’, says Carlos Pardo of Dvein in Barcelona. “We wanted a very organic look but tried to avoid a 3D visual appearance, so we used a lot of time developing a way to get realistic shots of materials transforming into the actual monograms. We used CGI to reproduce each of those Direction/animation/ steps which could not be created cinematography/editing: Dvein manually and shot. Technical production: Gonzalo Ruiz Espresati, Elena Guillem “We started experimenting with Monogram design: Alex Trochut materials, light and camera Music: Combustion settings so we could find a nice setup for the shoot. After we Toolkit started getting loads of footage 3ds Max, After Effects, Real Flow, we could then make the final Photoshop, Freehand edit. During this process Alex Watch Behind the Scenes on Trochut developed the monogram the DVD. designs for each of the speakers.” Schedule: two months. stash 45.08

Virgin 17 Broadcast design

Commissioning company: Largardere Interactive Director: Sebastien Cannone Animation/VFX: View www.view.fr This centerpiece of a full network redesign for EUROPE 3 TV’s urban-oriented Virgin 17 music channel won gold for best on-air ident at the Promax BDA 2008 awards in Barcelona. Parisian animation and VFX studio View say they knew they were incapable of delivering a regular broadcast package but had to reign in their concepts to make sure the campaign of 37 IDs actually held together thematically. The result is For Virgin 17 a surreal world where fibrous and AD: Antoine Nougaret mechanical elements spring forth from anything and everything in For View ever more erratic and spontaneous CDs: Christophe Valdéjo, ways. Schedule: three months. Sebastien Cannone Director: Sebastien Cannone PM: Sylvain Sauger Toolkit Maya, After Effects, Combustion stash 50.09

“True Blood” Opening titles 1:30

Clients: HBO, Alan Ball Director: Digital Kitchen Production: Digital Kitchen Animation: Digital Kitchen www.d-kitchen.com In a swell of religion, sex, and bloodlust, we are introduced to the visceral world of True Blood, the latest HBO brainchild from creator/ director Alan Ball. Awash in death and decay as well as lightness and transcendence, the opening titles are the result of many late night discussions among DK creatives and a four-day Winnebago odyssey through the depths of Louisiana. In the interest of grittiness over Polaroid transfers, water, and air For HBO Compositors: Ryan Gagnier gloss, DK steered clear of CG guns. The resulting transitions Director/creator: Alan Ball Live action direction: Rama Allen, feel almost like scorched skin.” Morgan Henry, Matthew Mulder, enhancement and focused on For Digital Kitchen Even the type of the True Blood Matt Clark, Tevor Fife Producers: live action footage with physical Concept: Rama Allen, Shawn titles themselves were created by Morgan Henry, Kipp Christiansen, transitions involving Polaroid Fedorchuck Digital Kitchen hands armed with Keir Moreno photographs. DK creative Matthew CD: Matthew Mulder an Exacto knife. The custom font EP/head of creative: Mark Bashore Mulder: “We’re particularly proud Designers: Rama Allen, was cut and styled to match road Executive CD: Paul Matthaeus of our analog work. The transition Ryan Gagnier, Matthew Mulder, signage of the American south. effects have an eerie, tactile quality Camm Rowland, Ryan Rothermel because they were created with Editor: Shawn Fedorchuck stash 48.09

“MTV Manifesto” Broadcast design

Client: MTV Networks Director: Eat My Dear Production: PostPanic Animation/VFX/design: PostPanic www.postpanic.com Austrian directing/design duo Eat My Dear and PostPanic (the Amsterdam-based studio who rep them) team up to create a short film to communicate MTV’s new brand manifesto. The studio says, “The manifesto included key statements which needed to be communicated in a strong yet playful manner, capturing the spirit of MTV. By moulding them manifesto from the paper. We For PostPanic For View into a kind of story, the statements wanted the manifesto message to Director: Eat My Dear CD: Christophe Valdejo were able to be interpreted in an be heard but not to get too heavy Producer: Annejes van Liempd Director: Sebastien Cannone interesting tongue-in-cheek visual or corporate in its presentation.” Animators: Markus Hornof, AD: Sebastien Cannone and narrative manner. A visual Patrick Sturm, Simon Griesser PM: Lucie Meunier For MTV Networks direction was chosen which would Sound FX: Matthias Müller Project manager: Account: Mark Stockx, focus on paper metaphors as well Alexandra Kumlin as a specific color palette. Eat Tanya Leedkerken For Sport+ My Dear explain, “We played with Strategy/copy: Moses Media AD: Bruno Poulain Toolkit a number of graphical elements AD: Ward Graumans, Maya, After Effects, Combustion, and animation techniques in order Neils Meulman Fluid Effects, nCloth to release the message of the Graphic design print: Ward Graumans, John Beckers stash 43.08

The New Pornographers “Myriad Harbour” Music video

Record label: Last Gang Records Matador/Beggars Group Director: Fluorescent Hill Production: Revolver Films Animation: Fluorescent Hill www.fluorescenthill.com According to Mark Lomond of Fluorescent Hill, the main challenge in creating the new music video for The New Pornographers was not with having only two hours to shoot a band of eight members, but how to feature them “without relying on the compositing, fellow director conventional solutions”. Combining Johanne St-Marie animating the rotoscoped elements with regular lip sync and a skeleton crew of animation and digital cutouts, friends animating the miniature Lomond wanted to capture a look climbing figures. that was unique, would retain as much detail as possible and For Fluorescent Hill present each cut as its own poster Directors: Mark Lomond, Johanne or design piece. The video was Ste-Marie completed in eight weeks with For Revolver Films Co. Lomond handling all EP: Jannie McInnes Toolkit Photoshop, After Effects stash 40.08

Socalled “You Are Never Alone” Music video

Record Label: JDub Records, New York Director: Benjamin Steiger Levine Production/VFX: BSL Productions Colonel Blimp www.colonelblimp.com Montreal director Benjamin For BSL Productions Steiger Levine and his prodco BSL Director: Benjamin Steiger Levine Productions go way beyond the Producers: Patricia Boushel, call of duty and the low budget Benjamin Steiger Levine to create one of the most striking DOP: Bobby Shore videos of 2007. BSL producer 1st assistant camera: Sid Zanforlin Patricia Boushel answers a few Production design: of our questions: What was the Nancy Hameder, Marie-Michelle creative brief? “There were no Deschamps instructions from the client. It SpecialFX modeling: was conceived by the director C.J. Goldman, Jonathan Lavallée with the help of the artist” Stop motion puppets: Creative challenges? “Finding Dayna Gedney the right rhythm and tone to fit Scenic painter: Jessica Mensch Socalled’s music, it being so Post: Antoine Wibaut, Paul eclectic.” Technical challenges? Raphael, Benjamin Steiger Levine “Everything. Doing it all for no Motion Control: Christian Buehler money, but also tracking the eyes Camera-e-Motion: Delphine Saint- on the model head. It was all trial Marcoux, Jonathan Barro and error.” Schedule: Four months Sound design: Simon Gervais of pre-production, two-day shoot, three months for post. stash 44.28

Dionysos & Olivia Ruiz “Tais-toi mon Coeur” Music video

Record label: Barclay/Universal Director: Stéphane Berla Production: LN Productions Animation: Cube Creative www.cube-creative.fr “Tais-toi mon Coeur” is a song from the Dionysos album “La Mécanique du Coeur” composed as a soundtrack for the book of the same name by Dionysos singer Mathias Malzieu. Director Stéphane Berla says he “wanted to create pictures that look like stop-motion with wood puppets. But we had a small budget for this kind of video and the schedule was only six weeks. So we didn’t For LN Productions Yves D’yncaud, Frédéric Cros, Shading: Yves D’yncaud have any time for pre-production Director/writer: Stéphane Berla Yann Couderc, Maxime Poron, Rendering/compositing super: and the whole project was a PM: Nicolas De Rosanbo Franck Balson, Timothée Ghislain Garlin constant race.” The dramatic and Vigouroux Animation: Johann Le Pouder, For Cube Creative moody animation was handled by Character setup: Jean-Paul Suau Character design: Joann Sfar Link, Paris-based animation/VFX studio Alexandre Bretheau Compositing: Jérome Lionard Bertrand Todesco, Karim Friha, Cube Creative. A major success Modeling: Nicolas Lambelin, Animation super: Victor Moulin Thierry Beltramy in France, the feature film rights to Bertrand Todesco, Rémi Certhoux, Set design: Sam Mahlone “La Mécanique du Coeur” were Color calibration: Jérome Lionard David Arnould purchased by Luc Besson with Line producer: Aurélia Sellier Toolkit UV/textures: Timothée Vigouroux, Berla and Malzieu set to co-direct. Rendering/compositing: 3ds Max, V-Ray Rémi Certhoux, Julien Rambaldini Loic Lecygne, Eric Lautard, stash 48.01 For Radical Media Director: Chris Milk Gnarls Barkley “Who’s Producer: Anne Johnson Gonna Save My Soul” EPs: Jennifer Heath, Music video Frank Scherma DOP: Danny Hiele Label: Prod designer: Zach Matthews Downtown/Atlantic Colorist: Dave Hussey/Co3 Records Editor: Livio Sanchez/Filmcore Director: For Gradient Effects Chris Milk VFX super: Thomas Tannenberger Production: VFX/CG super: Olcun Tan Radical Media Producer: Maya Martinez Animation/VFX: Compositor/Flame: Simon Holden Gradient Effects Lead modeler: Tom Curnan www.gradientfx.com Look development/shader: Raphael Protti Director Chris Milk follows up his Modeling/textures: Gina Kim “Gone Baby Gone” video (Stash Rigging: Chris Christman 27) with another CG-driven jaw- Lighter: Alex Marin dropper for the Gnarls Barkley Animators: Randall Rose, industrial complex. The heart Keith Sintay was brought to bloody, beating Blood simulations: Eric Ehemann life by Gradient Effects in LA Editor: Dylan Highsmith using HDRI maps to match the Coordinator: Ian Barbella lighting and motion capture of an actor for the body language. The For Image Metrics 15 shots of Cee-Lo’s lip-synch PM: Peter Busch performance was provided by Animator: Christian Brierley Image Metrics in Santa Monica Lead animator: Cesar Bravo using their proprietary image Lead rigger: Oleg Alexander analysis technology. According Modeler: Tom Tran to Milk, “The lips had to move like Tracker: Bryan Burger real human lips. We could not find Assistant producer: Pampata Jutte any other technology that was able For USC’s Institute for Creative Toolkit to achieve the level of exacting Technologies: Paul Debevec Maya, RealFlow, mental ray, Flame, perfection I was asking for.” Woman: Aasha Davis Image Metrics’ proprietary facial Man: Jorma Taconne animation solution stash 48.28

Grace Jones “Corporate Cannibal” Music video Director: Nick Hooker Production: Rabbit VFX: Version2 Union Editorial Click 3X www.version2.net www.unioneditorial.com www.click3x.com “Make me look like an insect,” is the directive Nick Hooker says he got from Grace Jones for this video promoting her album due out in October 2008. His response was to make “something that was simultaneously disturbing and beautiful.” some pulsating movement that I all. Not many female artists would For Rabbit couldn’t do myself. I felt like a very do that. Madonna and Mariah Director: Nick Hooker “The distortions were a demented plastic surgeon, with a Carey etc. would demand days DOP: George Steel combination of Flame and After stylus instead of a scalpel. But I of rotoscoping and beauty work Effects. It ended up being a frame- For Version2 knew that Grace’s beauty is very, to remove every blemish. Grace by-frame thing because it needed Flame: Kieran Walsh very intense and could handle a lot was just the opposite, she had constant adjustment to make it of digital violence. just been in the sun in Jamaica For Click3x work; it would work for three or for about six weeks so she was Flame: Mark Szumski four frames and then it would lose “We took off all her make-up, in intensely black and we wanted to its intensity so I had go in and fact we actually put a peel on For Union Editorial exploit that. We thought of her as pull it back. It was torture! Then I her face to remove any dirt or Edited: Sloane Klevin a kind of fetishistic digital voodoo worked with Sloane on the cut and dust. What was left was just the doll that had come to life.” Toolkit then we had two rounds of Flame raw glow of her skin and I did no After Effects, Flame work, fixing little things and adding beauty work afterwards, none at stash 40.18

Zune Arts “Masks” Viral

Client: Microsoft Zune Agency: 72andSunny Directors: Jonathan Garin, Naomi Nishimura Animation: PandaPanther www.pandapanther.com “This project presented many technical challenges due to the density throughout the piece,” recalls PandaPanther EP Lydia Holness. “Creating two opposing armies, and the feeling of being in a full scale battle definitely kept For Microsoft Zune For PandaPanther 3D: Guy Manly, Ari Hwang, us busy. We quickly developed Marketing team: Jack Oh, Directors: Jonathan Garin, Shu Chen Li, Paul Liaw, Roger An, a system of keeping animation Rob Schaltenbrand Naomi Nishimura Naomi Nishimura clips and sequences which EP: Lydia Holness Compositing: Naomi Nishimura, For 72andSunny could be retimed and used in Assistant producer: Jonathan Garin CD: Glenn Cole different shots. A few scenes Natsu Takahashi Props and art department: Designer: Jeff Beederman also presented challenges Designers: Elisa Riera Ruiz, Keiko Miyamori, Natsu Takahashi, Writer: Charlie Stephenson when it came to rendering – our Ari Hwang, Jonathan Garin, Jonathan Garin, Naomi Nishimura Site producer: Rebekah Mateu computers would just freeze, Naomi Nishimura Brand manager: Brad Bigelow For Lime Studios so we had to keep our workflow Lead 3D animators: EP: Sam Baerwald Sound designer/mixer: efficient. A lot of work went into Jonathan Garin, Matt Connoly Producer: Elisa Orsburn Rohan Young populating scenes and keeping a 3D animators: Chad Yapyapan, Writer: Charlie Stephenson consistent feel from one shot to Ajit Menon, David Hill, Bill Burg, Watch Behind the Scenes on the next.” Schedule: originally six Han Hu, Peter Karnik, Eric Wagner, the DVD. weeks, extended to three months. Eugen Sasu stash 41.01

Greenpeace “Sunshine” Viral :45

Agency: Escape Partners Director: Sven Harding Production/VFX: Park Village www.parkvillage.co.uk How do you divert the Red Bull- addled minds of 16 to 24-year-old men to think (at least momentarily) about something as politically correct as energy-efficient light bulbs? We’re pretty sure Escape Partners and Park Village director Sven Harding have found a way with this viral – the first attempt by Greenpeace to reach this demo, “It has been hard for us to get the message across that there are simple things that people can do to affect climate change,” says Martin Atkin, Greenpeace’s Amsterdam-based head of creative development. “By taking a For Park Village light-hearted approach to a serious Director: Sven Harding issue like the need to save energy, Producer: Polly Du Plessis we can reach the generation who Production Assistant: really will make the difference in Adam Dolman tackling climate change.” 1st AD : Gary Lansbury DOP : Adam Frisch stash 45.28

MTV “Burma Viral” TVC/viral

Clients: The Burma Arts Board MTV Networks

Agency: For Shilo Ogilvy & Mather Director: Andre Stringer Director: EPs: Tracy Chandler, Andre Stringer Mark Hanrahan Animation: CD: Andre Stringer Shilo Lead artists: Tamir Sapir, David Hill www.shilo.tv Matte painting: Mathieu Reynault, Marco Giampaolo, Cassidy Carl Le Blond, ECD at Ogilvy work we’ve ever created. I think Gearhart, Noah Conopask & Mather Amsterdam, had the our first cut was only a few days 3D animators: Henning Koczy, script for this MTV sponsored after we spoke with Carl. When Richard Cayton, Ohad Bracha, PSA completed in 2007 but knew we started getting calls telling us it Bren Wilson, Eugen Sasu, it “would have been prohibitively had moved some people to tears, Kiel Figgens expensive to execute, just because we knew we were right on track.” 3D: Christina Ku, Richard Kim, of the scale implications involved.” For The Burma Arts Board Warren Heimall, Craig Kohlemeyer, After screening Shilo’s 2007 short Founder: Suki Dusanj Scott Denton film “The War” (Stash 40) he knew Compositors: David Hill, he’d found his answer. For MTV Networks Tamir Sapir, Cassidy Gearhart, Director of social responsibility: For Shilo, this project for Noah Conopask, Stieg Retlin John Jackson the Burma Arts Board Miniature designer: Willi Patton (noneofusarefree.org) was a labor For Ogilvy & Mather Editor: Nathan Caswell of immediate love. “We jumped at ECD: Carl Le Blond Sound designer: Dante Nou the chance,” says Shilo’s Andre Producer: Producer Lindsay Bodanza Stringer. “We immediately realized Brenda Bentz van den Berg Coordinator: Danielle Smith this could help make a difference Audio: Good Sounds for a nation of more than 55 million Toolkit people being denied the rights we Maya, QUBE, mental ray, Adobe take for granted - and that it would Photoshop, Adobe After Effects, be the most important piece of Final Cut stash 42.04

Kit Kat “The Ultimate Break” Viral/TVC Agency: JWT, Paris Director: Akama Production: Wanda Productions Animation: Akama Studio www.akamastudio.com Fellow Parisians and longtime collaborators Wanda Productions and Akama Studio help Nestlé launch the new Kit Kat bar with this engaging and ambitious character-driven film. The clip leads off a massive campaign which culminates with two consumers winning trips into outer space for their “Ultimate Break”. For JWT, Paris CD: Ghislain de Villoutreys, Olivier Courtemanche AD: Xavier Beauregard Concept/copy: Hadi Hassan Assistant AD: Yan-Gaël Cobigo Producer: Elisabeth Boitte

For Wanda Productions, Paris Producer: Claude Fayolle Web agency: Grouek Music: Xavier Berthelot stash 47.02

Net10 “Microwave vs. Cell Phone” Viral For Droga5 Client: Creative chair: David Droga Tracfone EDC: Ted Royer, Duncan Marshall Agency: Copy: Kevin Brady Droga5 AD: Alex Lea EP: Sally Ann Dale Director: Producer: Dana May David Frankham Digital seeding: Craig Batzofin Production: DDS/digital producer: Davis Ross Smuggler For Smuggler Animation/VFX: Director: David Frankham The Mill DOP: Hubert Taczanowski www.the-mill.com EPs: Patrick Milling-Smith, It’s no secret that most cell phone Brian Carmody users actively dislike (some would HOP: Allison Kunzman say despise) their carriers, a fact Producer: Jeff Rohrer Net10 (the largest prepaid cell For The Mill phone provider in the US) and Flame: Phil Crowe, Corey Brown, their agency Droga5 have used Dan Williams, Paul Kirsch to brilliant effect in a series of “No Flame assist: Sharon Marcussen Bills, No Contracts, No Evil” spots CG: Jamie O’Hara (see Net10 “Sharak” on Stash 41). Deputy EPs: Helen Hughes, At press time, this most recent viral Gabrielle Gourrier, Alistair For Stan Winston has racked up over four million Thompson Puppet design: Stan Winston views on YouTube and Myspace Prod coordinator: Arielle Davis EP: Alan Scott and generated 14,000 posted For Lost Planet comments recounting tales of woe Editor: Geoff Hounsell and angst about viewers’ mobile phone contracts. The seamless For Amber CG and Flame work on the Sound design: Bill Chesley monster were cooked up at The Toolkit Mill New York with original puppet Flame, Maya design by Stan Winston. stash 46.07

Offset The Evil “Clown Flower Time”, “Lollipop Gift Parade” Virals x 2 Client: Sega Agency: Clemenger BBDO Animation: Yukfoo Animation www.yukfoo.net Glen Real, producer at Yukfoo Animation in Aukland, NZ: “The campaign was devised to promote the release of the Sega game ‘Condemned 2’, which is extremely violent, bloody and nasty. The creative team at Clemenger came up with a way gamers could release a little of the bad karma that comes with playing such a horrific game by going to offsettheevil.com and playing the saccharine-sweet games ‘Clown Flower Time’ and ‘Lollipop Gift Parade’. Yukfoo was tasked with designing and animating (and providing game elements) for the For Clemenger BBDO For Yukfoo Animation Music: Liquid Studios, Auckland, virals which were seeded online ECD: Richard Maddocks Animation director: Julian Stokoe New Zealand and appear on the website.” ACD: Guy Rooke Animation producer: Glen Real Sound Design: Andrew Stevenson Schedule: five weeks Creative team: Chris Berents, Animation: Julian Stokoe, (Pitchfork) Michael Dawson Ryan “Muk” Cooper, Tim “Puddy” AP: Denise McKeon Evans, Andrew Kepple, SHOo Lin, Editor: Joe Morris (Primecuts) Thelonius Veltman, Alex Dron stash 44.20

O’Neill “Navjacket Salesmeeting” Corporate film

Client: O’Neill Europe Directors: Kasper Verweij, Menno Fokma Animation/VFX: Onesize www.onesize.nl When the need for three short promotional videos for an upcoming O’Neill sales meeting arose, Bernhard Ritzer EP of the international sporting goods line, went directly to Delft’s creative motion makers Onesize. The one- minute promotional video outlines the complete list of hi-tech bells and whistles assembled in the new O’Neill Navjacket (including a fully integrated navigation system). NEED COPY Along with two other promotional films commissioned by Ritzer, the complete set took a little over four weeks for Onesize to complete.

For Onesize Verweij, Aras Darmawan Toolkit For O’Neill Europe CDs: Kasper Verweij, Menno Edit/post: Rogier Hendriks OnLocation, After Effects, EP: Bernhard Ritzer Fokma Audio/sound design: Krampfhaft Photoshop, Illustrator, Cinema 4D 3D: Menno Fokma (Joris van Grunsven) Animaton: Menno Fokma, Kasper stash 45.02

Kohler “Karbon” Corporate video

Agency: Meta Design Production: Logan Design/VFX: Logan www.hellologan.com The striking Karbon articulating faucet gets a sumptuous full-CG treatment from the Logan team in this brand video that, according to Logan CD Alexei Tylevich, steers wide of “the usual trappings of product presentation to visualize the inner beauty of the object.” Schedule: six weeks. For Kohler CD: Tristan Butterfield For Logan CD: Alexei Tylevich For Meta Design EP: Kevin Shapiro CD/copy: Brett Wickens AD: Marco Ammannati Design director: Jeremy Mattews Editor: Volkert Besseling PM: Kim Appelquist Flame: Brandon Sanders Music: Michael Kadelbach AP: Tina Chiang VFX: Vincent Wauters, Benoit Vincent, Julien Brami, Stephan Kosinski, Mat Rotman, Joshua Cortopassi Toolkit Maya, Nuke, Flame stash 46.06

PS3 “Winning Eleven 2008” Game cinematic

For Digital Media Lab., Inc. Client: Producers: Toshiyuki Terada, Konami Digital Naoya Hatsumi, Keisuke Entertainment Co., Ltd. Toyoshima Director: CD: Keisuke Toyoshima Goh Fujita Director: Goh Fujita CG animators: Kazue Tsukamoto, Production: Yoshiki Hanawa, Kentaro Konami Digital Nakamura, Makoto Kazamaki, Entertainment Co., Ltd. Masahito Honda, Koichi Tsumori Digital Media Lab., Inc. CG modelers: Arata Kawata, Animation/VFX/design: Hirotaka Yoshida, Fumi Takeuchi, Digital Media Lab., Inc. Gento Fujiwara, Fumiaki MOZOO Inc. Nakashima www.dml.co.jp Texture design: Kensuke Sugimoto www.mozoo.jp PM: Kunitaka Sato Keisuke Toyoshima, producer For MOZOO Inc. at Digital Media Lab, Tokyo: “In Motion directors: Shinji Takehara, order for the actual game players Sakura Munakata to feel the same psyched up Motion designers: Daisuke feeling of the soccer player before Imahori, Saki Sato, Wataru the match, we created a visual Yachida, Youichi Takai, Yoshiki mixed with reality and unreality. Isozaki, Go Hattori While the soccer players are Motion edit: Soichi Kaburagi, made realistically, we gave them Hiroshi Matsumoto, Junko superhuman powers and made Matsumoto them play on an impossibly unreal stadium so that the game players Toolkit would have an action-movie-like XSI, 3ds Max, After Effects, illusion.” Schedule: four months. Photoshop, Illustrator stash 50.19

Rock Band II Game trailer 1:40

Client: Harmonix Music Director: Pete Candeland Production: Passion Pictures Animation: Passion Pictures www.passion-pictures.com Passion Pictures gathered a animation of the band members – CG head: Jason Nicholas Lead compositor: Niamh Lines crew of over 50 artists for what Pete Candeland cast four actors, CG: Vincent Aupetit, Michael Compositing: David Lea, Luke the London studio considers who played the characters in both Cawood, Wes Coman, Gui Carpenter, John Taylor, Lee one of their most ambitious and bands. Then we worked with Glachant, Lina Kousnetsova, Gingold, Kristian Hammerstad, challenging projects to date. Audio Motion Studios to produce Donny Mahmood, David Sigrist, John Williams Jason Nicholas, head of CG at the footage for the animators to Chris Welsby TDs: Julian Hodgson, Alan Jones Passion: “The characters, which work to. Takes of the DV footage Lead character modeling: Matte painting: Max Dennison were designed by director Pete were selected and BVH files were Mario Ucci For The Mill Candeland, are stylized but also made and imported into XSi for Character modeling: Colorist: Mick Vincent quite realistic in terms of being animation. Lip synch was also Cesar Eiji Nunes three dimensional people and really important for the film – we Rigging: Chris Dawson Facial motion capture: needed to move naturalistically, worked with Image Metrics who Prop modeling: Ian Brown, Simon Image Metrics and with a lot of detail in their filmed the facial mocap shots.” Reeves, Raymond Slattery clothes, hair, etc. – that meant the Sr 3D: Nuno Conceicao, For Passion Pictures Motion capture: Audiomotion props, such as the cars and the Harry Bardak Director: Pete Candeland Studios Ltd., UK desert backgrounds, had to match 3D: Tommy Andersson, Producer: Anna Lord VFX super: Neil Riley that level of detail and authenticity. Claire Michaud, Quentin Vien, EP: Hugo Sands Added to this, there were two Simon Reeves Storyboard/design: Pete Toolkit bands instead of the one in the VFX: Alex Doss, Jamie Franks, Candeland, Alberto Mielgo XSi, Modo, After Effects, Final Cut original film. Sajjad Amjad, Haavard Ness, Writers: Pete Candeland, Giles Dill “It was decided to use motion Lee Gingold, Giles Dill capture to assist with the Render wrangler: Michael Sofoluke stash 50.20

Diablo III Game cinematic 2:00

Client: Blizzard Entertainment, Inc. Director: Matt Samia Animation: Blizzard Entertainment, Inc. www.blizzard.com For Blizzard Entertainment, Inc. Jeramiah Johnson, Chung Kan, Joe Frayne, Huong Nguyen, Unveiled during the 2008 Blizzard Director/writer: Matt Samia Bernie Kang, Jeffrey Kember, Jim Jiang, David Keegan, Scott Entertainment Worldwide Lead producer: Scott Abeyta Ren Kikuchi, Ronny Kim, Eddie Lange, Hung Le, Dyllan Lu, Wei Invitational in Paris, this teaser for Producer: Taka Yasuda Yonghyun Kim, Brian LaFrance, Qiao, Chris Rock, Billy Shih, Peter the third embodiment of the Diablo Editor: Matthew Mead Mark Lai, Moonsung Lee, Yeon Shinners, Nelson Wang universe was the first Blizzard Supervisors: Jonathan Berube, Ho Lee, David Luong, Marc Studio technical engineers: game trailer created with the Fausto DeMartini, Scott Goffman, Messenger, Alex Murtaza, Sada Sean Laverty, Jim Bush, Mike studio’s new Maya/RenderMan Steeg Haskell, Arthur Jeppe, Mike Namiki, Jeremy Nelligan, Tuan Kramer, Ramon Rodriguez pipeline. Ominous voice from deep Kelleher, Jared Keller, Jon Lanz, Ngo, Jae Wook Park, Corey Production team: Angela Blake, within Blizzard HQ: “The benefits James McCoy Leads: Ricardo Pelton, Troy Perry, Zachary Bejan Fozdar, Janet Garcia, Phillip of PRMan are readily apparent in Biriba, Dennis Price Podratz, Reo Prendergast, Hillenbrand Jr., Kim Kotfis Horn, the money shot of Diablo, towards Artists: Sal Arditti, Jason Barlow, Dominic Qwek, Glenn Ramos, Bryan Langford, Steve McIlwain, the end of the teaser. Render- Barry Berman, Anwar Bey-Taylor, Jarett Riva, Davy Sabbe, Kaz Noel Wolfman time displacement combined Alvaro Buendia, Scott Campbell, Shimada, Taylor Smith, Peter Intern: Chay Johansson with Mudbox modeling allows Jeff Chamberlain, Aaron Chan, Starostin, Geordie Swainbank, Additional artists: Jae Hyung Kim, our artists whole new levels of Steven Chen, Shimon Cohen, Peter Swigut, Seth Thompson, Oliver Lam expressiveness and detail which James Crowson, Sofia Vale Chris Thunig, Graven Tung, we simply weren’t able to achieve Toolkit Cruz, Graham Cunningham, Ben Mathias Verhasselt, Xin Wang, using the old toolset. Technical Max, Maya, Mudbox, Fume Dai, Zaza Essa, Hunter Grant, Kenson Yu challenges included shader Effects, Blastcode, Nuke, Brazil, Jeremy Gritton, Micheal Hardison, Technical artists: Ben Barker, development for wax, glass and RenderMan Jason Hill, Brian Huang, Steven Micheal Beal, Leonard Chang, refraction as well as human skin.” Hui, Tyler Hunter, Sheng Jin, Drew Dobernecker, Chris Evans, Schedule: eight months. stash 45.09

Nike/MTV: “PlusIRun” Branded film

Agency: W+K NY, MTV Director: Alex Wittholz Production: Helios Design Labs Animation: Helios Design Labs www.heliozilla.com MTV Canada on-air personality color the original tracings: kid’s Dan Levy trips through downtown watercolor sets, crayons, chalk, Toronto in his Nikes. Helios grease pencil, nail polish, dollar director Alex Wittholz: “We store markers. Some scenes explored the concept of a ‘runner’s were distributed out of sequence high’ – the moment where your to different animators with body releases large amounts of instructions to color them as they endorphins to counteract pain wished. We were constantly telling and exhaustion – it seemed like people to be rougher and more the perfect metaphor to explain careless.” Schedule: three weeks the transition from live action to (cut from the original six). animation and allowed us to push For Helios Design Labs the visuals into a hallucinogenic Director/edit: Alex Wittholz and surreal direction. The project DP: Eric Fenato was shot on a Canon HV20 with Animators: Felix Wittholz, a steadycam rig in one day. It was Matt Brushett, Setareh Shamdani, edited in FCP overnight and each Marc Pannozzo, Josh Gorle scene was printed out. The 1,200 Music: Grand PM images were traced onto plain office paper and scanned back Toolkit in as a backup. We then used the After Effects, Photoshop cheapest materials available to stash 46.25

Sony “Snow Angel” Short film

Agency: Dare Digital Director: Laurie J Proud Animation: Sherbet www.sherbet.co.uk This enigmatic new short sponsored by Sony was built on a scene idea from John Malkovich following his involvement in the latest VAIO campaign. The story was then co-written by visitors to the VAIO site with votes tallied to decide the most popular narrative suggestions. The final twist-filled tale was interpreted by Sherbet director Laurie J Proud through London digital agency Dare. Animated in Flash, After Effects and Maya inside six weeks. For Sony Communication manager: For Dare Digital For Sherbet Toolkit Kirsi Stewart ADs: Matt Firth, Vicky Goose Director/design: Laurie J Proud Flash, After Effects, Maya Writers: John Malkovich, Planner: Elaine Miller Producer: Rachel Matchett Wayne Chisnall, Laura Tonini, Producers: Harriet Scopes, Animators: Nick Appleton, Martin Arianna Tropea Emily Creek Oliver, Ross Vidsten, Aaron Lampert, Garth Jones, Steve Sole Compositor: Shelley Revill 3D: Simon Goodchild Sound: Barney Quinton stash 41.28

Elephant Girl the trunk had to be the release Short Film and not the cause of tension, so from there it was obvious that it Director: would take a viscous black fluid David Lobser filling the room to provide the danger the plot required. From Animation: there the question why followed David Lobser from one circumstance to the www.dlobser.com next until I found myself outside in Raised in Colorado and schooled the prairie during one of the most at SVA in New York, freelance intense miller moth migrations in visual effects artist, director, and the latter half of this century. The artist David Lobser sites David wind crisp and cool in the fall, Lynch, Mathew Barney, Kenneth running sheets through the fields Anger and Michael Snow among of wheat, and whistling through his influences for this peculiar tale the maze of telephone poles and of lust and corrosive black goo. slowly stripping the paint from the “Elephant Girl grew backwards abandoned house at the end of out of the image of a nubile the way. brunette straddling the trunk of “Elephant Girl is the result of a crispy, wizened old elephant. carefully placing disconnected The elephant, being merely a imagery into a dramatic structure. stuffed head on a wall, certainly The images I used had to pass appreciated the situation and the test of being interesting after could provide the benefits of weeks or months, even years experience, but it was the girl and after I first imagined them. Also, her journey to this strange meeting props to Jamie Haggerty. His that I wanted to see. score brought everything together. “The main question I had to work Sound is huge for animation, very through was how she arrived in often more important than the such a sticky situation. She could animation itself.” have been riding the elephant in Director: David Lobser such a provocative manner for fun, Music: Jamie Haggerty but that wasn’t the sort of drama I was interested in. Straddling Toolkit Maya, After Effects, Photoshop stash 41.14

“MajorieDaw” Short film

Director: between the live action shots and Conkerco CG. Nearly 40% of all the shots didn’t exist in the original rushes. Production: These had to be created from a Academy Films combination of HD footage, digital VFX: stills, matte paintings and CG. Moving Picture Company “A huge amount of time was www.moving-picture.com also spent digitally recreating London directing collective areas of London, and grading Conkerco and MPC combine all non-film elements to appear forces to create a brooding and like 35mm. This enabled us to dreamlike vision of the children’s use MPC’s motion capture and rhyme See Saw, Marjorie Daw. crowd replication skills to create “The concept of the earth being realistic flows of people through rocked back and forth by a girl the streets.” on a seesaw was the beginning point,” says Conkerco. “But For Academy Films we didn’t want the viewer to Director: Conkerco experience the film as a voyeur, Producer: Mark Whittow-Williams we wanted them to feel like they DOP: Tom Townend had been on the ride with the city’s For The Moving Picture occupants. Company “The [restricted] budget meant EP: Graham Bird most of the shots had to be Sr producer: Sean Costelloe creatively combined. The Sr VFX producer: Jim Radford basketball court scene was shot Music: Efterklang “Prey and on location, and then we wheeled Predator” in a trampoline, and employed the Sound design: Wave Engineer: services of some local gymnasts Ashley Smith to do all the aerial acrobatics right there. One of the toughest Toolkit aspects was creating continuity Combustion, Flame, Maya, Alice, PAPI stash 46.28

“The Control Master” Short film

Client: Veer Director: Run Wrake Production: Sclah Films Animation: Run Wrake www.runwrake.com In commissioning Run Wrake to create a film featuring the CSA Images collection, Canadian stock and type house Veer could not have chosen a film-maker more suitable to the task. The London-based director used a similar approach in his multi-award winning black comedy “Rabbit” in 2006 (see Stash 24). The CSA Images collection – available for license from www.veer.com – is a separate stock art affiliate of the Charles S. Anderson Design Company and is inspired by the highs and lows of art and printed culture: 20th-century advertising cuts, the tactile look of ink on paper, pulp and vintage themes, and American modernism. Schedule: three months For Sclah Films Director/animator: Run Wrake Animation assistants: Martin Morris, Thomas Mitchell Sound/dubbing editor: Jon Newman Dubbing/re-recording mixer: Nigel Heath Music: Daniel Morgan Toolkit After Effects stash 51.27

“Galactic Mail” Short film 4:50

Director: Asterokid Animation/VFX/design: The Mill www.the-mill.com “Galactic Mail” is the latest result of The Mill’s ongoing initiative to develop their in-house talent by commissioning short film projects. Alex Webster, EP at The Mill in London: “Since deadlines were tight, we tried to approach the character design process in a different way to that used on our previous short ‘Sigg Jones’. This time we went straight into 3D, working with cubes to get the right proportions and shapes for the characters. This worked well as it enabled us to skip the process of translating 2D sketches into 3D. Once we were happy with the design, it was ready to go.” Schedule: four months with a crew of two. For The Mill EP: Alex Webster Toolkit Photoshop, Illustrator, XSI, After Effects, Fusion stash 51.28

“Dix” Short film 7:08

Director: bif Production: The Mill Autour De Minuit ARCADI Canal+ CNC Animation/VFX: The Mill www.the-mill.com Hidden within the walls of The Mill in London lurks a directing team known as bif. It comprises Fabrice Le Nezet, Francois Roisin and Jules Janaud, all animation graduates of the Supinfocom class of 2005, also responsible for the spectacularly original 2006 film “Raymond” – the first in the on- going series of shorts created in- house from The Mill. The directors reveal the major challenge with this new film was, “Chopping up our actor. Some shots are 2D special effects (Shake), while some others needed a 3D model animated For The Mill For Autour De Minuit on top of the actor and then cut, Director: bif Producer: Nicolas Schmerkin revealing the flesh.” Schedule: Producer: Stephen Venning Toolkit four months. XSI, Maya, Shake, Final Cut Your daily dose of news and inspiration. www.feedhere.com