50 Establish your horizon Your creative vision knows no limits. Where others end, you continue to the next horizon. Your production technology needsto keep up with you.
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Copyright © 2008. Sony Creative Software Inc. All rights reserved.
VP8b_Stash.indd 1 2/20/08 11:42:37 AM Six companies worth watching:
Catch their latest work on the bonus disk in this issue. Come join the festivities! www.spherestock.com
Royalty Free Stock Footage
Royalty Free- Motion Design Tools Now featuring- world’s largest collection of Christmas footage! HDTV -$48
PAL/NTSC - $32
Categories List Animated Globes Globe Background Abstract Sunburst Finance Back- grounds Animated Flowers Geometric Animat- ed Patterns Clip ID - xmas_22 Lightforms Grunge
Exclusively for Stash - An exciting motion design element ABSOLUTELY FREE ! (On The Stash DVD) stash Come join the festivities! DVD MAGAZINE 50 www.spherestock.com Stash Media Inc. Royalty Free Stock Footage Editor: Stephen Price Publisher: Greg robins Managing editor: HEATHER GRIEVE Royalty Free- Account managers: APRIL HARVEY, CHRISTINE STEAD OMG50! Motion Design Tools Producer: BRANDON DEMARCO Now featuring- world’s largest Submissions coordinator: ABBEY KERR To Stash subscribers, viewers, collectors, advertisers, partners, collection of Christmas footage! Music editor: STEVE MARCHESE distributors, retailers, fans and groupies: Proofing editor: MARILEE BOITSON Warm, wet, multitudinous thanks from all the people you see listed HDTV -$48 Preview/montage editor: over there on the left. BRANDON DEMARCO Onward to 100! Contributing producer: ERIC ALBA PAL/NTSC - $32 Technical guidance: IAN HASKIN Cover image: Stephen Price KA-CHING CARTOONS Editor Categories List New York, November 2008 Animated Globes WWW.STASHMEDIA.TV [email protected] Globe Background ISSN 1712-5928 Legal things: Stash Magazine and Stash DVD Abstract Sunburst are published 12 times per year by Stash Media Inc. All rights reserved and contents Finance Back- copyright Stash Media Inc. No part of this booklet nor the Stash DVD may be copied grounds Animated without express written permission from the publisher. Stash Media Inc. does not Flowers promote or endorse products, services or Geometric Animat- events advertised by third party advertisers. Clip ID - xmas_22 Submissions: www.stashmedia.tv/submit ed Patterns Subscriptions: www.stashmedia.tv Contact: Stash Media Inc. Lightforms Grunge 494-1641 Lonsdale Avenue, North Vancouver, BC V7M 2J5 Canada. Curated in New York. Printed in Canada. Exclusively for Stash - An exciting motion design element ABSOLUTELY FREE ! (On The Stash DVD) stash 50.01
Guinness “Spoken Word” TVC :60
Agency: Saatchi & Saatchi Director: Shilo Production: Shilo Animation: Shilo www.shilo.tv Shilo wrap Caribbean musician and spoken-word artist Ainsley Burrows in golden imagery and transform a New Jersey warehouse into a magical performance space in this riveting spot for Guinness through Saatchi & Saatchi. Shilo CD Andre interesting visual metaphor for the 3D lead: Tamir Sapir Trackers: Chris West, Joel Voelker Stringer: “We embraced the black theater of his mind.” Editors: Josh Bodnar, Andre Producer: Lindsay Bodanza and beige palette of the Guinness Stringer, Galen Summer Line producer: Nina Goldberg branding as the main elements of For Saatchi & Saatchi Illustrator: Zach Johnsen, EP: Tracy Chandler our look. The milky shadows and CD: Tim Hearn Evan Dennis EP for Hanrahan: Mark Hanrahan striking beams of light mix with the Creatives: Dave Govier, Levi Slavin Animators: Henning Koczy, flow of our graphic elements.” The Exec broadcast director: Music and sound design: Human Craig Kohlmeyer, Stieg Retlin script originally called for a pitch- Andy Gulliman Compositors: Bashir Hamid, Toolkit black setting but Stringer and Producer: Laura Mueller Tamir Sapir, Andre Stringer Maya, Photoshop, After Effects, his team suggested shooting on- PA: Emma Wolanski 3D: Warren Heimall, Craig Final Cut Pro, FumeFX, nCloth location in a large, empty space For Shilo Kohlmeyer, Christina Ku, Youngmin with character. “We felt pretty Watch Behind the Scenes on Director: Shilo Kim, Chris Fung, Joji Tsuruga strongly featuring Ainsley in this the DVD. CD: Andre Stringer Rotoscopers: Constance Conrad, type of space would bring in some DOP: Martin Ahlgren Joel Voelker, Chris West, important texture, personality Associate CD: Evan Dennis Stieg Retlin and grit – it would also provide an stash 50.02
NikeWOMEN.COM Virals x 2 (1:40, 1:13)
Client: Nike EMEA Agency: Wieden+Kennedy, Amsterdam Directors: Nieto, Edouard Sallier Production: Paranoid US Animation: Paranoid US Digital District www.paranoidus.com www.digitaldistrict.fr Two of five virals highlighting the back stories of outstanding women athletes for the re-launch of nikewomen.com. With only a For Nike EMEA EP: Corey Bartha Model maker/animator: month and a half to create the Brand communication managers: Agency producer: Cat Reynolds Brice Lartigue Enrico Balleri, Adam Collins Lead After Effects: Damien Martin campaign, Paranoid US spread For Paranoid US Associate marketing director: Graphics: Julien Choquart out the spots among their stable Director: Nieto Paolo Tubito Lead 3D: Jean Lamoureux of directors. This pair of stand- EPs: Claude Letessier, Advertising and content manager: Flame: Christophe Richard out clips were built around British Phillip Detchmendy Marcella Fauci sprinter and hurdler Nicola HOP: Cathleen O’Connor Toolkit Sanders and Swiss tri-athlete For Wieden+Kennedy Producer: Anne Lifshiftz After Effects, 3ds Max, Flame Nicola Spirig by directors Nieto ECDs: John Norman, Jeff Kling Post producer: Guillaume Raffi and Edouard Sallier respectively. CDs: Mark Bernath, Eric Quennoy Line producer: Romain Staropoli Paris-based studio Digital District Associate CD: Betsy Decker For Digital District handled the animation and VFX on Copy: Mark Bernath, Eric Exec post producer: David Danesi all the films. Quennoy, Betsy Decker Post coordinator: Alexis Vieil AD: Anders Stake, Darren Watkins stash 50.03
Honda Fit “Mecha-Mosquitoes”, “Defense Mechanism” TVCs :30 x 2 Agency: RPA Directors: Eric Barba, Brad Parker Production: Digital Domain Animation: Digital Domain www.digitaldomain.com The Digital Domain website contains a wealth of perfectly executed photo-real car spots. Which makes these two clips a refreshing extension of DD’s skills with vehicular sheet metal. DD CD David Rosenbaum: “Digital Domain has a long history of photo-real work, but we made a deliberate decision to go in another direction for this campaign to create a completely new look that branded the Fit. Everything was beyond photo-real – dramatic colors in the sky, roads with unbelievable twists and turns, tankers that are more massive than they’d ever be in reality – all of those cues help define Fit world.” The spots were directed in-house by Brad Parker and Eric Barba who also doubled as VFX supers. For RPA Digital artists: David Liu, Randy Exec VP/Exec CD: David Smith Sharp, Tim Nassauer, Tim Jones, Sr VP/CDs: Joe Baratelli, Pat Chris Norpchen, Terry Naas, Mendelson Anthony Ramirez, John Cooper, VP/Assoc CD/AD: Curt Johnson Jack Evans, Jeff Dierstein, VP/Assoc CD/copy: Todd Carey Margaret Bright-Ryan, Jon Sr VP/EP: Gary Paticoff Gourley, Don McCoy, David Sr producer: Shelley Eisner Matherly, David Chan Broadcast production assistant: Matte paint: Brenton Cottman Lyndsey Wilson Lead roto: Hilery Johnson- Copeland For Digital Domain, Inc. On set tracker: Marco Maldonado Directors: Eric Barba, Brad Parker Integration tracker: Montu Jariwala President of commercials/EP: Motion graphics: Jake Sargeant Ed Ulbrich Digital production admins: EP/HOP: Karen Anderson Andrea Flores, Tracy Watada, CD: David Rosenbaum Mary-Margaret Conley VFX supers: Eric Barba, Brad Parker For Spot Welders CG super: Richard Morton Editor: Michael Heldman VFX producer: Alex Thiesen For Elias Arts VFX coordinator: Stephanie Composers: Jonathan Elias, Escobar David Wittman, Christopher Kemp, Previsualization: David Ann Haugen Rosenbaum, Tom Bruno Jr. Animator: Marc Perrera For 740 Sound Design Compositing super/Flame: Sound designer: Eddie Kim Andrew Eksner For Lime Studios Flame assist: Mixer: Loren Silber Matthew Bramante Nuke compositors: Niles Toolkit Heckman, Sven Dreesbach, LightWave, Nuke, Flame Rafael Colon, Arthur Argote, Linda Tremblay-Geibel, Rachel Keyte, Greg Teegarden, Krista Benson CG lead: Ron Herbst stash 50.04
Mattoni “Star” TVC :60
Client: Mattoni Karlovarksé Minerální Vody, a.s. Agency: MPG srl Director: Matthias Zentner Production: Cow & Boys Animation: Velvet BlackMountain STUDIOS www.velvet.de www.blackmountain.de German studios Velvet and water surface, and rendered it out For MPG srl, Italy For BlackMountain Studios BlackMountain team up to bathe using the 3D animated version CD: Dario Mondonico VFX super: Andreas Illenseer supermodel Hana Soukupova of Soukupova as a holdout for Copy: Antonio Pinter TDs: Daniel Stern, Abdelkareem reflections and refractions. The Abonamous in a stunning haute water dress. For Cow & Boys, Italy resulting particles were then Artists: Enrico Seiler, Stephan They started with a 3D body scan Producers: Fred Turchetti, Stefano deformed and transformed into Habel, Christian Bumba, Tobias and several long night shoots of Patrizzi, Carlo Giudice liquid surfaces in Houdini and Ott, Adam Wasierski Soukupova strutting over tables Director: Matthias Zentner rendered in Houdini’s Mantra in skin-tone panties and breast DOP: Torsten Lippstock Toolkit renderer using the physically- covers. Velvet says the team Maya, Houdini, Real Flow, Flame, based mode. Additional CG For Velvet approached the dress by first Shake writing a custom fluid simulation splashes were done in Real Flow Editor: Jochen Kraus force in Maya. Combined with with practical water elements Flame: Sylvia Rössler “the careful use of particle forces” added in compositing. Shake: Manuel Voss they were able to create the Post producer: Julian Büchner shape of the dress. The designer VFX set supervisor: Falk Büttner then combined several passes of particles in Houdini, created a stash 50.05
Live Life Unbuttoned “Unbreakable” TVC :60 For BBH Client: CDs: John Hegarty, Nick Gill Levi’s Creatives: Rik Brown, Jon Fox, Agency: Toby Allen, Jim Hilson, Kris Wixom, BBH Alisa Wixom Director: Producers: Davud Karbassioun, Fredrik Bond Anna Murray, Alice Bullimore Production: For Sonny London Sonny London Director: Fredrik Bond VFX: Producers: Helen Kenny, Ran Absolute Holst www.absolutepost.co.uk Editor: Tim Thornton Allen, Richard Orick, Amanda Perry @ Marshall In prepro, Absolute’s Phil Oldham Street and director Fredrik Bond decided on motion control for the LA shoot For Absolute of “Unbreakable” to give them VFX producer: Sally Heath more control and repeatable 3D: Richard Nelson, Minh Nguyen- camera moves. Good thing too, Ba, Toby Walton, Jamie White because once the crew reached Lead Flame: Phil Oldham, Dave the set, the creative changed Smith, Hani Al Yousif, Daniel Morris from having one actor thrown one Combustion: Dan Leatherdale, time to include multiple talent. James Cornwell, Mark Epstein, But the actors were not shot on Tim Andrews, Owen Saward greenscreen, so eight minutes of For Wave footage had to be roto’d by hand. Audio: Aaron Reynolds Two weeks in Flame brought all the elements together including the 3D environment recreated using hi-res stills of the location. The final scene, where the group of actors explodes, required 40 layers of compositing. stash 50.06
Quercus “Animals” TVC 1:06
Agency: For McCann Erickson: McCann Erickson Copy: Diogo Anahory Portugal AD: José Carlos Bomtempo Director: TV producer: Nuno Calado Flavio Maciel Menezes For Seagulls Fly Animation: Director: FlavioMac Seagulls Fly CDs: Diogo Anahory, José Carlos www.seagullsfly.com Bomtempo Animating the delicate line Toolkit between creature realism and 3ds Max, Zbrush, mental ray, the anthropomorphism of suicide Photoshop, Combustion, After proved a difficult assignment for Effects Buenos Aires animation studio Seagulls Fly. According to the studio’s director Flavio Maciel Menezes, “The greatest challenge was to make the animals look real, but also depressed. The viewers had to believe, and also feel sorry for the animals.” Contextualizing the animals in reasonably plausible scenarios while maintaining realistic fur and shading characteristics hits the right chords creating an emotionally loaded piece that took over two months to complete. Watch Behind the Scenes on the DVD. stash 50.07
Centraal Beheer Achmea Insurance “UFO” TVC/viral 1:06 Agency: DDB Amsterdam Director: Stylewar Production: Stink Animation: Swiss www.swiss.se Stylewar team up with fellow Swedes at CG effects house Swiss International for this spoofy homage to alien invasion flicks. The major challenges were establishing a big cinematic feel and trying to cram all those sci-fi clichés into the clip’s 70 seconds. Daniel Scott Croxford, the director’s rep at Stink: “The team had to restrain themselves and limit the number of planned shots they wanted to include, there were just too many good ones to fit in.” Post schedule: three months. For DDB Amsterdam For Stink Toolkit Watch Behind the Scenes on Producer: Yuka Kambayashi Director: Stylewar 3ds Max, V-Ray, After Effects, the DVD. CD: Niels de Wit DOP: Jallo Faber Premiere, Maya, mental ray, Creatives: Daniel Snelders, Robert Editor: Frederick Norstedt Maxwell Render, Shake, Final Cut Van der Lans, Ruben Sonneveld Producer: Mungo Maclagan stash 50.08
Renault Clio TVC :30
Client: Renault Agency: Saatchi & Saatchi Milan Director: Ben Hibon Production: Fred Films Animation: Axis Animation www.axisanimation.com Produced for the Italian market, this spot re-teams Glasgow’s Axis Animation and designer/director Ben Hibon who brought us the fabulous MTV “Codehunters” clip on Stash 22. Richard Scott, EP at Axis: “As with our previous work with Ben, the biggest creative challenge is bringing his fantastic 2D designs to life in 3D. world was the biggest technical For Fred Films Ben had given the animals very challenge. We decided to shoot Producer: Fred Turchetti the drivers in real cars against exaggerated forms and styles so For Axis Animation greenscreen, we then replaced the we needed to be sure we could Director: Ben Hibon Producer: real car with a CGI version so that get the right type of animation into Debbie Ross CG super: Stuart we could easily get all the relevant those designs to sell them to the Aitken EP: Richard Scott viewer. reflections on the car body and blend everything into the sylized Toolkit “Mixing the live action drivers with environment.” Schedule: two modo, Maya, Houdini, Digital the CGI cars and then blending months. Fusion them into our more stylized 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 50.10
“Next World” Show open :28
Clients: Discovery Channel CBS News Productions Director: Tronic Studio Production: Tronic Studio Animation: Tronic Studio www.tronicstudio.com The open for a new 14-episode through energy information is technology program on Discovery disseminated. Mixing live action Channel. Tronic Studio co- and 3D – something we’ve had founders Vivian Rosenthal and a lot of experience with – let us Jesse Seppi: “We wanted to push reality and open up new create something that brought possibilities.” energy to the show – and a sense For The Discovery Channel of excitement and foreboding EP Nextworld: Rob Cohen about the future – every time you saw it. We were interested in For Tronic exploring future technologies, the Directors: Vivian Rosenthal, inherent spatial conditions of the Jesse Seppi city and life through motion, but EP: Jeffery Wolfe we also sought a way to visually Toolkit represent the future without 3ds Max, After Effects, boujou specifically creating futuristic products or buildings, which might appear gimmicky. So we chose to use a more abstract language where the future is energy and stash 50.11
Todd Francis Signature Series ID Broadcast design :30 Client: FUEL TV Director: Miles Flanagan Production: ka-chew! Animation: ka-chew! www.kachew.com FUEL TV’s ever-fresh Signature Artist ID Series ventures on with this fabulous Hitchcockian nod from legendary skateboard artist Todd Francis who has been painting decks and otherwise denting pop culture since 1993. “The FUEL TV staff gave me complete freedom to dream up some of my usual screwed-up stuff, so how could I be anything but enthusiastic?” asks Francis, who worked with long-time Fuel TV collaborators ka-chew! on the clip. “Probably I’m most excited For FUEL TV For ka-chew! Music: DEVO that I got to use the original Devo Sr VP/assistant GM: CJ Olivares EP: John Andrews Toolkit song ‘Mongoloid’ – never in a VP marketing/promotion: Producer: Ali Ferrisi Photoshop, Illustrator, After Effects million years could I have dreamed Jake Munsey Director: Miles Flanagan to have my artwork accompany CD: Todd Dever Animator: Miles Flanagan, Watch Behind the Scenes on one of the most important and Artwork/creative direction: Adam Byrd the DVD. terrifying songs every written.” Todd Francis Audio: Daniel Benshimon Schedule: three months. Smoke: Paul Yacono stash 50.12
MTV Switch “Green Song” Music video :60
Agency: 180 Amsterdam Director: Michael Reissinger Production: Rokkit Animation: Deli Pictures Glassworks www.delipictures.de www.glassworks.co.uk A tongue-in-cheek primer from MTV to help its audience identify products and people guilty of For 180 Amsterdam green-washing; that is, pretending CD: Sean Thompson to be green in order to mislead AD: Rosita Rawnsley consumers and or voters about Copy: Stacey Lee, Hal Hirkland the true nature of products Producer: Sandra Durham and policies. Characters were designed by PepperMelon in For Rokkit Buenos Aires, animation handled Director: Michael Reissinger by Deli Pictures in Hamburg and EP: Luke Jacobs posted in London by Glassworks. For Glassworks Post producer: Charlotte Williams For Kaiser Sound Mixer: Laurence Horne Music: Sizzler Composer: Lentink/Billinger & Marsman Music Supervisor: Sander van Maarschalkerweerd stash 50.13
“Arte en Construccion” Event opening :43
Director: Adrian Lawrence Production: Crush Animation/design: Blok Design www.blokdesign.com For Arte en Construccion, the contemporary Mexican arts show delving deep into the creative mechanisms of the country’s leading visual talents, Toronto’s Crush and Mexico City’s Blok Design explore their own creative impulses in this Lilliputian title sequence for the event. Crush CD Gary Thomas: “Part construction, part art installation, part biology. Our director, Adrian Lawrence, created a surreal, cerebral miniature landscape, and then hand animated the threads that For Crush Stephanie Pennington connect and weave throughout Director: Adrian Lawrence, Crush PM: Adam Palmer the opening. The process was a CDs: Natasha Rand, Gary Thomas Prod coordinator: Tara Hall fluid interaction between Crush Music: Adam Palmer Toolkit and Blok Design.” The music was CG TD: Aylwin Fernando Flame, Maya, After Effects composed by Crush’s resident DJ CG: Jacques Dell and sound stylist Adam Palmer. CG animator: Chris Minos Flame: Kaelem Cahill EP: Jo-ann Cook Producers: Debbie Cooke, Overdose on motion. In a good way.
STASH SIXPACK 8 DELIVERS 9+ HOURS OF INSPIRATION
THIS LIMITED EDITION SIX-DISK SET INCLUDES: + BONUS FILMS: • The complete disks from issues 43-48 of • STUDENT FILM MINI-FEST 2 STASH DVD MAGAZINE • ONEDOTZERO/MTV “BLOOM” WINNERS X 10 • Work from over 150 international studios • ADOBE PHOTOSHOP “SEE WHAT’S POSSIBLE” • Over 180 outstanding animation, VFX and motion graphics CHALLENGE WINNERS X 11 projects including: • STUDENT FILM MINI-FEST 3 - TV and cinema commercials • 2008 CHANNEL FREDERATOR AWARD WINNERS - music videos • STUDENT FILM MINI-FEST 4 - broadcast design - virals + 40 BONUS MP3 tracks from these labels: - branded content • POLYVINYL RECORDS - game cinematics • SUICIDE SQUEEZE RECORDS - short films • FLAMESHOVEL RECORDS • FAR EAST RECORDING + Behind the scenes extras • GHOSTLY RECORDS
+ Hi-res PDF files of the • KEMADO RECORDS 40-page booklets for all six disks GRAB YOURS AT www.stashmedia.tv/collections stash 50.14
Mad in Spain’08 Event titles 1:38
Client: Domestika Director: Helio Vega Animation: Helio Vega www.heliovega.com Inspired by the accomplishments of fellow presenters to be featured at the Mad in Spain’08 conference (held in his home town of Madrid), director/animator Helio Vega constructed this event open from samplings of their work. “I wanted to communicate the essence of each designer’s work. These titles show the scenes where the creative people develop liquid ideas, cut and paste elements Director/animator/designer: Helio or add layers to get to their goal: Vega Sound: Marcelo Baldin a new visual, a new idea. I’ve “Falling photographs” scene included some speakers’ real helped by Mr. Oso work to introduce to the audience “Fish” scene helped by Holke 79 how they get inspiration, and I’ve Thanks to: Florentino Noguera tried to compose it in a way that and Tavo everyone feels related with the visuals.” Toolkit Photoshop, After Effects, Cinema 4D stash 50.15
“Freaks” TVC/viral 1:47
Client: Australian Director’s Guild Director: Ben West Production: Soma Films VFX: Ben West www.benwest.net.au Ben West, director/writer/VFX artist: “The Australian Director’s Guild wanted to promote the 2008 conference with a spot that explored the notion of For Soma Films collaboration. I came up with Director: Ben West the idea of filmmakers as freaks VFX/writer: Ben West ostracized by society growing up Producer: Sarah Nichols and finding each other through DP: Nicola Daley the calling of filmmaking. The Camera assistant: Ashleigh Carter effects for the eye, arms, ear and Gaffer: John Ward mouth involved substantial 3D AD: Angus McDonald tracking and photogrammetry Locations: Morgan Supple that allowed the actors freedom to PA: Sian Hamilton perform. We shot separate close- Runner: Chris Lee up plates for the additional details Camera equipment: Panavision and mapped them to tracked Lighting: Rick McMullen geometry. I wanted it to feel as real Lighting Lab: Atlab as possible.” Schedule: one week Toolkit for pre-pro, one-day shoot, one SynthEyes, 3ds Max, Fusion week for VFX. stash 50.16
“The Ride” Short film 1:40
Director: King and Country Animation: King and Country www.kingandcountry.tv The first in what King and Country plans as a series of self-promo films. Andrew Neujhar, K&C head of production: “The story loosely follows the journey of an idea from its rough beginnings, through a perilous course, until it finally takes off into the world. The biggest challenge was carving out a piece of time between client work to do something of this scale. We often had to redirect our designers and animators on to other jobs only to put them back on the film at a different point in the production. The key to keeping an internal For King and Country Josh Childers, Greg Mitchell For Glue Audio project like this alive is to always CD: Efrain Montañez Liquid: Chris Kelley Music/sound design: Hugh Barton, have at least one person on the EP: Jerry Torgerson 3D lighting: Chris Kelley, Sean Holt job, pushing it forward.” Schedule: HOP: Andrew Neujahr Aaron Knapp Toolkit planned - one month, actual - the Associate producer: Mariko Wilson 3D texturing: Efrain Montañez, Cinema 4D, Maya, After Effects, full summer of 2008. Concept: Efrain Montañez, Andrew Chris Kelley, Aaron Knapp, Photoshop, Illustrator, Real Flow Neujahr, Aaron Knapp, Chris Kelley Greg Mitchell Design: Efrain Montañez 3D modeler: Alex Reyes, Storyboard: Eshom Nelms Greg Mitchell Illustrators/concept: Wendy Park, Interns: Phillip Bichsel, Sander Jay Kee, James Levy Van Dijk 2D/3D: Aaron Knapp, Chris Kelley, stash 50.17
Minilogue “Animals” Music video 5:47
For Blink Ink Record label: Producer: Bart Yatesand Cocoon Recordings For Ljudbilden Client: Director: Kristofer Ström Minilogue Character design/animation: Director: Kristofer Ström Kristofer Ström For Varelsen Animation: Producer: Nicholas Wakeham Ljudbilden VFX/filming: Erik Buchholtz Varelsen Toolkit www.ljudbilden.com Flash, After Effects www.varelsen.com Kristofer Ström’s second music video for the Swedish techno- minimalist band Minilogue was another open brief to let his freakishly cute character designs run wild. Like most labor-of-love music videos, the biggest challenge for Ström was finding the time to complete the work between paying projects (compounded by a self-admitted propensity to oversleep). The video has been making the usual rounds online, but its big break will come with the winter 2008 release of Minilogue’s greatest hits DVD. stash 50.18
Kerli “Walking on Air” Music video 3:54
Label: fashion dolls were closest to what Island/IDJMG we needed. We bought one at the Directors: last minute and had it rush-custom Dan Shapiro and Alex painted and rigged to become Topaller our marionette, only getting all the final parts together a day or two Production: before the shoot. Then we had Refused TV to find an awesome prosthetics Animation/VFX/design: artist who could make a life-size Aggressive version of this little marionette. We www.whatisaggressive.com composite-tracked Kerli’s singing Briefed by Island/Def Jam Records face onto it in CG.” Schedule: two to come up with something weeks of pre-production, one-day “fantastic, creepy but beautiful”, shoot, three weeks of post/VFX. Alex Topaller and Dan Shapiro (aka Director: Aggressive (Alex Topaller, Aggressive) drew on an idea they Dan Shapiro) had discussed several months Producer: JP Fox earlier. Alex Topaller: “Dan and I DP: Damian Acevedo had the concept of an inverted Editor: Jason Yantz house, where everything is EP: Cathy Pellow functionally, and at times, visually Lead VFX compositing: Aggressive the polar opposite of what it is Lead 3D: Joe Gunn, Nathan Evans expected to be; and this track came along at the perfect time to Toolkit bring that to life.” After Effects, 3ds Max The biggest challenge? “The little Watch Behind the Scenes on marionette version of Kerli was the DVD. an ordeal. After speaking to every marionette craftsman and special effects shop in the country (and many around the world) to no avail, we found that Korean ball-joint 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 Unveiled during the 2008 Blizzard For Blizzard Entertainment, Inc. Jeramiah Johnson, Chung Kan, Joe Frayne, Huong Nguyen, Entertainment Worldwide Director/writer: Matt Samia Bernie Kang, Jeffrey Kember, Jim Jiang, David Keegan, Scott Invitational in Paris, this teaser for Lead producer: Scott Abeyta Ren Kikuchi, Ronny Kim, Eddie Lange, Hung Le, Dyllan Lu, Wei the third embodiment of the Diablo Producer: Taka Yasuda Yonghyun Kim, Brian LaFrance, Qiao, Chris Rock, Billy Shih, Peter universe was the first Blizzard Editor: Matthew Mead Mark Lai, Moonsung Lee, Yeon Shinners, Nelson Wang game trailer created with the Supervisors: Jonathan Berube, Ho Lee, David Luong, Marc Studio technical engineers: studio’s new Maya/RenderMan Fausto DeMartini, Scott Goffman, Messenger, Alex Murtaza, Sada Sean Laverty, Jim Bush, Mike pipeline. Ominous voice from deep Steeg Haskell, Arthur Jeppe, Mike Namiki, Jeremy Nelligan, Tuan Kramer, Ramon Rodriguez within Blizzard HQ: “The benefits Kelleher, Jared Keller, Jon Lanz, Ngo, Jae Wook Park, Corey Production team: Angela Blake, of PRMan are readily apparent in James McCoy Leads: Ricardo Pelton, Troy Perry, Zachary Bejan Fozdar, Janet Garcia, Phillip the money shot of Diablo, towards Biriba, Dennis Price Podratz, Reo Prendergast, Hillenbrand Jr., Kim Kotfis Horn, the end of the teaser. Render- Artists: Sal Arditti, Jason Barlow, Dominic Qwek, Glenn Ramos, Bryan Langford, Steve McIlwain, time displacement combined Barry Berman, Anwar Bey-Taylor, Jarett Riva, Davy Sabbe, Kaz Noel Wolfman with Mudbox modeling allows Alvaro Buendia, Scott Campbell, Shimada, Taylor Smith, Peter Intern: Chay Johansson our artists whole new levels of Jeff Chamberlain, Aaron Chan, Starostin, Geordie Swainbank, Additional artists: Jae Hyung Kim, expressiveness and detail which Steven Chen, Shimon Cohen, Peter Swigut, Seth Thompson, Oliver Lam we simply weren’t able to achieve James Crowson, Sofia Vale Chris Thunig, Graven Tung, Toolkit using the old toolset. Technical Cruz, Graham Cunningham, Ben Mathias Verhasselt, Xin Wang, Max, Maya, Mudbox, Fume challenges included shader Dai, Zaza Essa, Hunter Grant, Kenson Yu Effects, Blastcode, Nuke, Brazil, development for wax, glass and Jeremy Gritton, Micheal Hardison, Technical artists: Ben Barker, RenderMan refraction as well as human skin.” Jason Hill, Brian Huang, Steven Micheal Beal, Leonard Chang, Schedule: eight months. Hui, Tyler Hunter, Sheng Jin, Drew Dobernecker, Chris Evans, stash 50.21
Gap Voting Campaign “Bill Maher”, “Perez Hilton”, “Cameron Sinclair” Virals x 3 ( :38, :43, :53)
Agency: CAA For CAA Directors: Producer: Mathew Bijarchi Justin Leibow, CD: Jesse Coulter Jeski Takaharo AD: Ben James Copy: Andrew Ault Production: Superfad Independent co-director: Animation: Jeski Takaharo Superfad For Superfad www.superfad.com EP: Kevin Batten Three of the 10 spots designed to CD/co-director: Justin Leibow help get voters engaged with their Producer: Danielle Hazan democratic privilege and perhaps Designers/animators: Justin further entrench the GAP brand Leibow, Adam Greene, Clarice in their minds at the same time. Chin, Miles Kinghorn, Jimmy Superfad director Justin Leibow: Thompson, Dylan Spears “The featured product was literally Editorial: Final Cut and figuratively a blank slate: A Editor: JD Smyth t-shirt that engaged you to fill Assistant editor: Jacob Kuehl in the blank area with your own EP: Saima Awan cause. The design and animation Music: Asche and Spencer was inspired by the Sharpie. Every EP: Carol Dunn single element of our artwork was For Co3 hand drawn in order to equate Colorist: Stephan Sonnenfeld them with expressions that one might make with a marker on their Toolkit own t-shirt.” Final Cut, Photoshop, Illustrator, After Effects stash 50.22
Scion “Broken Glass”, “Put Your Root Down” Virals x 2 ( :50, :58)
Agency: Attik Director: Cole Gerst Production: Calvin Florian Animation: Option-G Graffects www.option-g.com www.graffects.com Illustrator/designer/director Cole Gerst (aka Option-G) teams up with Atlanta studio Graffects to pull off a pair of open-brief Scion clips for the want2bsquare.com campaign. Cole Gerst: “The lack of direction from the client was a little stressful but it gave me the opportunity to put some ideas out there your average client wouldn’t go for. Production challenges? “The timing of the music in Put Your Root Down was key and it For Option-G Toolkit took a lot of tweaking to get it Director: Cole Gerst Photoshop, After Effects right. For Broken Glass, we went through a lot of VO talent before Music: T-Rock we found Brad Abelle who VO: Brad Abelle nailed it.” Audio mix/edit: Bluetube Productions stash 50.23
Nike Air Force 1 Viral :60
Agency: Publicis Mojo Melbourne Director: Chris Riggert Production: Radical Media Animation/design: Resolution Design www.resolutiondesign.com.au Sydney’s Resolution Design build a riveting viral to help celebrate the 25th anniversary of Nike’s landmark Air Force 1 basketball shoe. Live-action elements of For Resolution Design the basketball player were shot CD/designer: Tim Dyroff in HD, while hundreds of photo- 3D super/goo animation: real high-polygon 3D basketball Max McMullin shoes were pushing rendering 3D animation/lighting: Tom Corbett times up to three hours per frame 2D compositers/animators: on dual quadcore workstations. Maxence Pellion, Lisha Tan Though the budget for this spot Producer: Will Alexander was limited, thankfully the timeline For Super-Sonic was not, as production spanned a Composer: Jono Ma six-month period. Toolkit For Radical Media Maya, Zbrush, Combustion, Director: Chris Riggert Photoshop EP: Robert Galluzo Producer: Michael Hilliard stash 50.24
Lacoste “Future” Viral :56
Agency: Megalo(s) Director: Akama Studio Production: Wanda Animation: Akama Studio www.akamastudio.com This hyper-futuristic tennis viral for Lacoste’s 75th anniversary marks the fourth placement of Akama Studio in the archives of Stash in the last 10 months. Over that time the much-in-demand Paris- based 3D studio has been forced to upgrade their workstations and render farm, recruit a slew of new artists and relocate into larger digs to accommodate their ever- expanding workload. This online clip was created on a restrictive one-month schedule that included the mo-cap shoot, animation file clean-up, muscular rigging and For Akama Studio Compositing: Berelle Leon, Toolkit cloth and hair simulation. Directors: Ada Alexandre, Jeanne Luere Maxime, Gobilliard Pierre, 3ds Max, V-Ray, After Effects, Cedric Mhamed Elmezoued, Montel Shave and a Haircut For Megalo(s), Paris Producer: Claude Fayolle Stephane Producer: Nicolas Forrestier Design: Lachartre Thomas Mo-cap compositing: Stéphane For Wanda Productions Modeling: Nguyen Antony, Jugon Dalbéra, Laurent Helmlinger, Director: Akama Studio Florian Animation: Kozyra Remi, Antonin Delboy, Marie Delsol Pereira Helder, Zidane Fawzi stash 50.25
Nissan Escape the Pattern “Tiida” TVC :30 For Lew, Lara /TBWA Publicidade S/A Creatives: André Laurentino, Agency: Carlos Lopes Nunes, Luciano Lew, Lara /TBWA Lincoln, Manir Fadel, João Braga Publicidade S/A CDs: Jaques Lewkowicz, André Directors: Laurentino, Manir Fadel e Luciano Carlos Manga Jr., Lincoln Marcelo Durst RTVC: Katia Bontempo Leal, Production: Cristiane Leopacci, Daniela Toda Movi&Art & Republika For Movi&Art & Republika Filmes Filmes Animation: Director: Carlos Manga Jr. Equipe Vetor Zero Photo director: Marcelo Durst www.vetorzero.com.br Editor: Alex Lacerda One of five spots at the center of For Equipe Vetor Zero the “Escape the Pattern” campaign EP: Alberto Lopes for Nissan, a major branding effort Sound production company: that broke across the Brazilian Sax So Funny market on TV, print, outdoor, POP and online. All the vehicle’s Toolkit moves were carefully worked out Maya, Shake, Flame, boujou at the animatic stage and shot in a cavernous warehouse lit by a custom-built, four thousand square meter translucent white roof (or butterfly), the largest ever constructed in Brazil. Watch Behind the Scenes on the DVD. stash 50.26
Vettel & Webber in Singapore “Let’s Do A Lap” Teaser 2:27 Client: Red Bull Media House GmbH Director: Peter Clausen Production: Peter Clausen Film & TV Animation: AixSponza www.aixsponza.com Munich studio AixSponza chews threw the render cycles with this 2.5-minute HD clip complete with ray tracing, global illumination and volumetric effects, to help promote the premiere of the Singapore Grand Prix (the first F1 race ever to be run at night). Achim August Tietz: MD/ technical director at AixSponza: “The basic idea was to let Formula 1 drivers Sebastian Vettel and Mark Webber deliver an action-packed neck-and-neck race. One big concern was the rendering. A lot of different effects had to be handled by the render engine. There were massive poly counts because of the huge scenes (120 Singapore buildings), the car CAD data involved and the MoGraph and proprietary plug- For AixSponza, Tietz Tyroller HD finish. ins. This made it possible to Casasola Merkle Müller GbR basically reuse the track in the CD/design VFX supervisor: “While all the assets necessary for different shots with only slight Manuel Casasola Merkle the film were in the making, Peter modifications. Editing / VFX director: Christian Clausen, the director, and the Tyroller animation team worked creating “Soon after the evaluation process Technical director: a rough storyboard and the started it became obvious that Achim August Tietz animatic. For every shot different the best approach to rendering VFX super: Christian Stanzel animations were made and our project was a combination 3D lead: Matthias Zabiegly evaluated, leading to a rough edit. of V-Ray and Advanced Render. 3D operators: John Strieder, This was refined several times and V-Ray handles large amounts of Sven Mai, Arpad Beres, Matthias served as reference throughout ray tracing flawlessly and with its Popp, Gianni Ciatola, Ingo Walde, the production process. lightcache mode, implements a Jan Haluszka, Christian Förg, very stable and versatile global “Because of its complexity, Leonhard Akinbiyi illumination engine. AR on building the racetrack with all its 3D juniors: Holger Aumüller, the other hand provides great surroundings as one big model Tobias Szabo volumetric rendering and fast was not an option. Building it Rigger: Fabian Rosenkranz ambient occlusion.” shot-wise would have meant Animator: Philipp Strasser, starting from scratch with every Schedule: two months of Johnathan Ben Dor scene. As this was not possible animation and post with a team of Junior compositor: Jan Glöckner due to the short time frame, we nine 3D and composite artists. PMs: Anne Tyroller, Eva Kunze decided to build a procedural For Peter Clausen Film & TV Music: Andrej Melita, ‘racetrack construction kit’. First Produktionsgesellschaft mbH, Peter Clausen the track itself and all the assets Munich were created as single pieces. Toolkit Director/producer: Peter Clausen The models and textures were Cinema 4D, V-Ray, Photoshop, Line producer: Cecilia Trück then rigged in C4D to create Illustrator, After Effects, Nuke, an automated setup file using Final Cut stash 50.27
AIDES “Boy”, “Girl” TVCs x 2 ( :50, 1:07)
Agency: TBWA, Paris Director: Minivegas Production: La Pac Animation: Minivegas www.minivegas.co.uk The on-going AIDES campaign from TBWA Paris (Stash 21, 34) has spawned more than a few emails to Stash HQ and these latest clips (with UK collective Minivegas taking over directing duties from Wanda’s Wilfred Brimo) will no doubt turn up the heat. Minivegas: “The production schedule was pretty tough as we had no money and only a small team. We worked on this since strippers from Jumbos Clown March, but had to stop and take Room that did some awesome other jobs in between. Fortunately moaning. The fanny folly in MPC helped us out with “Boy”. particular was pretty awesome.” The discussions with TBWA were pretty funny as words like cock, Toolkit pussy, jizz, balls, anus etc. were Maya, XSI, Shake, Premiere discussed without the slightest Watch Behind the Scenes on taboo. Audio design was funny the DVD. too as we ended up hiring some stash 50.28
“3D Machine” Short film 7:21
Client: Rotterdam Film Fund Directors: Joost van den Bosch, Erik Verkerk Production: Shop-Around Animation: Ka-Ching Cartoons www.ka-chingcartoons.com Every year the Rotterdam Film Fund selects five projects from young Rotterdam film makers. The only demand is Rotterdam has to be part of the film and the For Ka-Ching Cartoons film has to be completed in time Writers/directors/animators: to premiere at the festival. This Joost van den Bosch, Erik year Ka-Ching Cartoons’ ode to Verkerk Producer: Marlou Rutten 1950’s monster movies was one of Backgrounds: Jelle Gijsberts the winning pitches. “Basically it’s For Shop-Around Frankenstein meets King Kong in Producer: Eefje Peddemors seven minutes,” admits Ka-Ching directors Joost van den Bosch Toolkit and Erik Verkerk. Even with a six- Flash, Photoshop, After Effects month deadline, the directors had to develop a new way of creating anaglyph 3D imagery via After Effects to cut down on marathon render times. Watch this film with the supplied 3D glasses. stash 50 BONUS FILMS: SELECTIONS FROM THE 2008 OTTAWA INTERNATIONAL ANIMATION FESTIVAL
“A Letter To Colleen” “Intergalactic Who’s Who” “Emily in the Clouds” Short film 8:22 Short film 3:00 Short film 1:44 Digital colorist/effects: Directors: Directors: Director: William Dyer andy LONDON Kevin D.A. Kurytnik, Clayton Mitchell Digital assistance: Jean-François carolyn london Carol Beecher Côté, Brandon Ostlund Animation: Animation: Production: Animation assistant: Clayton Mitchell london squared Fifteen Pound Pink Janice Baldwin www.clay2n.com productions Productions Colorist assistant: “Emily in the Clouds” is the senior www.londonsquared.net Animation: Spencer Idenouye thesis of Ringling College of Art Andy and Carolyn London are a Carol Beecher Interns: Alex Tarrant, Emma and Design student Clayton husband and wife writing/directing www.intergalacticwhoswho.com Rouleau, Dione McGuire Mitchell who completed the film team based in Harlem, NY. “It Sound design: William Dyer working solo for a year and four Two films from a proposed series Sound recording: Peter D’Amico was originally an actual letter with of ten produced in-house by months. Based on the song “Only a handful of illustrations done Narration: Paul Boucher Happy When it Rains” by Richard Fifteen Pound Pink Productions Music: Willy Joosen roughly in brush and ink. We had in Calgary riffing on the classic Cheese. to rotoscope over nine minutes of Canadian 1970’s Hinterland Who’s Toolkit Alternate soundtrack: blurry and poorly lit digital video Who series of nature TV spots. Toon Boom Digital, After Effects, Cedric Havard frame by frame with a Wacom Take 2 tablet using Flash.” For Fifteen Pound Pink Toolkit Productions Watch Behind the Scenes on Maya, RenderMan, Photoshop, For London Squared Directors: Kevin D.A. Kurytnik, the DVD. Premiere, After Effects Productions Carol Beecher Animator/writer: Andy London Digital super/compositor: Editor: Carolyn London Jon Atienza Toolkit Flash, Final Cut, After Effects “Race Across the Rainbow” “Berni’s Doll” “A Sheep on a Roof” Short film 3:30 Short film 9:46 Short film 6:50 Writer/director/modeling/texturing Director: Director: Director: light/rendering/compositing: Jackson He Yann Jouette Rémy Schaepman Yann Jouette Animation: Production: Set up/FX/rigging/animation/ Animation: Jackson He Dummy Productions facials expressions: Rémy Schaepman Seventeen-year-old Toronto high Animation: Andres Gomez Director Rémy Schaepman on school senior Jackson He on Yann jouette, Animation: Kaï Lydecken his seven-minute graduation the major technical challenge of Kaï Lydecken, Hair/facials expressions: film completed while enrolled in his film: “My computer crashed Andres Gomez, Geoffroy de Crecy the Institut Sainte-Geneviève in halfway through, getting rid of all Geoffroy de Crecy Sound design/music: Paris: “At the very beginning of my 3D models. The animation itself http://yann.jouette.free.fr/ Seal Phüric and Trionix preproduction, I had this picture was luckily still there. Unfortunately Rigging: Maud Henry of a sheep landing on a roof, Paris-based freelance director/ I could no longer use huge, Editing: Guillaume Hassan like a small stone wedged in the designer Yann Jouette takes time rotating 3D landscapes, and so for cogwheels of the main character’s off his paying gigs to bring his dark Toolkit the second half of the animation, existence, blocking these wheels, rumination on loneliness to twisted 3ds Max, After Effect, Photoshop, there is no 3D. I could have just and little by little changing his life. He lists Charles Bukowski Final Cut created a new model, but I really day-to-day life. I wanted to speak and Robert Crumb as narrative didn’t want to…really did not want Watch Behind the Scenes on about the paradox between the influences and says he looked to. Back up your files everybody.” the DVD. envy of change and the fear of to Orson Wells’ “Touch of Evil” novelty.” Toolkit and Joel Peter Witkin for design Flash, Swift 3D direction. The film had its premiere Toolkit on Canal+ in France. Photoshop, Flash, Premiere Inspiration. Just the way you want it.
MOTION GRAPHICS MUSIC VIDEOS 3D ANIMATION A sweeping treasury of 60 motion design Gorge yourself on this 2-hour feast of the Forty of the world’s most influential and projects guaranteed to inspire. Curator most innovative music-driven projects innovative 3D-heavy clips wrapped into Justin Cone calls this collection “as close the planet has ever witnessed. a riveting 98 minute program including to definitive as I’ve ever seen”. Behind the Scenes extras.
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