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Stash03 18494 Maya6 Stash Ad 5/5/04 10:41 AM Page 1 Yes, It’S True DVD MAGAZINE Outstanding animation, VFX and motion graphics for design and advertising stash03 18494_Maya6_Stash Ad 5/5/04 10:41 AM Page 1 Yes, it’s true. Stash is off to a rip-snorting start. Our third issue, code named Stash 03, will land on the desks of visually acute stashDVD MAGAZINE and well-adjusted professionals in 30 countries on six contients - thank you Kuwait, Cypress and Nigeria. Those desks belong STASH MEDIA INC. to ad agencies, broadcasters, animation studios, post houses, Editor: STEPHEN PRICE producers, directors, creative directors, art directors, copywriters, Publisher: GREG ROBINS Associate editor: HEATHER GRIEVE editors, animators, designers, students and a dental receptionist DVD production: METROPOLIS DVD, in Dallas taking Maya and After Effects classes at night - thank New York you Maureen. This issue will also be available at discerning yet Animation: KYLE SIM, TOPIX, Toronto Toolkit: 3DS Max, Inferno friendly online retailers and terrestrial bookstores in New York, Music: TREVOR MORRIS, Toronto, Los Angeles, Vancouver and Singapore with London to Media Ventures, Santa Monica follow soon. Thanks: CHEYENNE, MAYA, NICOLE, JASON, TYLER, RADIOIO.COM Cover Image: Honda “Grrr” courtesy NEXUS PRODUCTIONS, London But wait, there’s more - we just renovated the website, rented Stash toolkit: Illustrator, Photoshop, InDesign, Transmit, Powerbook G4s, sunny new digs at Broadway and 12th from real nice people and Helvetica Neue, DIN Mittellschrift retained the multi-talented Heather G to keep us sane. Instructions: Fluff with a fork. SUBSCRIBE at www.stashmedia.tv Looks like this would be the time to get those submissions in Legal things: Stash Magazine and Stash DVD are published 12 times per year by Stash ‘cause I’m in a really good mood. Media Inc. All rights reserved and contents copyright Stash Media Inc. No part of this booklet nor the Stash DVD may be copied without express written permission from Stephen Price the publisher. Stash Media Inc. does not promote or endorse products, services or Editor events advertised by third party advertisers in this publication. Submissions are welcome. New York 11/04 Please refer to the Submissions information in this book or online. Subscrptions avail- [email protected] able from www.stashmedia.tv. Contact us at: Stash Media Inc., 207 W. Hastings St., Suite 506, Vancouver, BC V6B 1H7 Canada stash 03.01 stash 03.02 HONDA HATE “GRRR” HP “PICTURE BOOK” Cinema and TVC :90 TVC :60 Agency: Agency: WIEDEN+KENNEDY GOODBY, SILVERSTEIN & PARTNERS Directors: SMITH & FOULKES Director: FRANCOIS VOGEL Production: NEXUS For Goodby, Silverstein & Production: www.nexusproductions.com Partners PARANOID PROJECTS @ CDs: Steve Simpson, Rich TOOL Can hate be good? In the case Silverstein of Kenichi Nagahiro, it seems so. VFX: Associate CD: John Norman ZOIC Honda’s chief engine designer EP: Josh Reynolds hated the noise, smell and dirt of www.zoicstudios.com diesel engines so much he flatly For Paranoid Projects @ Tool François Vogel follows up the refused to design Honda’s first MD: Phillip Detchmendy much-acclaimed HP “You” with diesel unless he was allowed to EPs: Claude Letessier, Jennifer this visually intricate spot. The fluid start from scratch. The result is the Siegel and seamless integration of what HOP: Amy DeLossa i-CTDi a brand new power plant could have been a tiresome visual that even bunnies and rainbows Producer: Mark Fetterman For Nexus For Zoic gimmick is due in part to Vogel’s can love. Garrison Keillor sings the DP: Adam Kimmel Producer: Julia Parfitt CD: Christopher Jones extensive planning with the effects infectious folk song. 3D: Darren Price, Steve Brown, Producer: Carla Attanasio in mind and his experience as a For Wieden+Kennedy Mark Davies, Luis Juan Palares, Combustion/Flame: Dayna compositor. To accommodate Creatives: Michael Russoff, Sean Michael, Mike Swindall, Daniel Cernansky, Rachel Keyte, Keith worldwide broadcast and theatri- Thompson Shutt, Laura, Saul, Sandra Guarda Weilmuenster, Chris Howard, cal release, the spot was finished Composite: Reece Millidge, Eddy Kevin Moseley in HD 25p PAL by Zoic via Flame and Combustion. Herringson, Moshe Sayada For Chrome: Graphics: Reece Millidge, Ludovic, Editor: Hal Honigsberg Adam Pointer For Prologue Toolkit Designer: Kyle Cooper 3D Studio Max, Brazil, After Effects, Combustion stash 03.03 stash 03.04 POST OFFICE “TWINS” NIKE “MICHAEL VICK TVC :40 EXPERIENCE” TVC :60 Agency: Agency: PUBLICIS WIEDEN+KENNEDY Director: Director: SIMON WILLOWS, JON RICHE ULF JOHANSONN Production: Production: BLINK SMITH AND JONES Animation/VFX: VFX/post: FRAMESTORE CFC SEA LEVEL www.framestore-cfc.com www.sealevelvenice.com Concept, casting and execution This, the fifth ant-based spot for For Wieden + Kennedy For Sea Level the British Post Office, was shot in all converge for this take on Fear AD: Ryan O’Rourke VFX/Inferno: Ben Gibbs Factor meets Monday Night cost-effective and reliably sunny Copy: Derek Barnes EP: Celest Gilbert Majorca. Back in London, three Football. The on-field footage, EP: Ben Grylewicz VFX producer: Amy Russo green-screened players, practical weeks of animation and two weeks Producer: Vic Palumbo of 2D/compositing work got the For The Whitehouse rig and NFL audience plates were ants into shape and into the shots. For Smith and Jones Editor: Russell Icke all laced together during four DP: Harris Savides weeks of tracking, composites, Lighting information was gathered Toolkit EP: Philappa Smith custom background creation and on set using HDR (high dynamic For Blink Inferno, Combustion, Mokey, range) photographs. Taken from Producer: Bart Yates Producer: Steven Sills painstaking matte extraction work Onyx 2, G4s at Sea Level. the ants’ POV, these fisheye pix of For Framestore CFC the live environment are used to Inferno: Jonathan Hairman provide accurate 3D lighting and 3D: Dave Hulin, Kate Hood, Robert reflections on the twins. Holder, Don Mahmood, Gwilym For Publicis Morris, AD: Jackie Steers Lighting/rendering: Laura Dias, Copy: Ira Joseph Simon Stoney Producer: Sharon Joyce Colorist: Steffan Perry Post-producer: Abby Orchard Toolkit Maya with proprietary plug-ins, Inferno. stash 03.05 stash 03.06 NEXTEL “EAVESDROP” ACURA RSX “DANCE” TVC :30 TVC :30 Agency: For Rubin Postaer & Agency: TBWA\CHIAT\DAY Associates RUBIN POSTAER & Director: Sr producer: Shelley Eisner ASSOCIATES BRYAN BUCKLEY Sr VP CD/AD: Mark Erwin Director: Production: Sr VP CD: Pat Mendelson MARK ROMANEK HUNGRY MAN AD: Brandon Levin Production: Copy: Daniel Elmslie VFX: ANONYMOUS CONTENT CHARLEX For Anonymous Content Animation/VFX: www.charlex.com EP: Lisa Margulis DIGITAL DOMAIN HOP: Jeff Baron www.d2.com How they did it (the ADD version): Producer: Scott Kaplan Shot a day of real race with real For Hungry Man After talking with David Fincher For Digital Domain crowd. Shot two days on the EPs: Steve Orent, Dan Duffy (his friend and avid DD fan) EP: Ed Ulbrich closed track with the stunt guy, Producer: John Marx Mark Romanek agreed to direct VFX producer: Stephanie Gilgar nine cars, 100 extras and matching DP: Adam Beckman Dance on the condition it be camera specs (all at 120 fps so VFX super: Brad Parker created totally in CG with no the footage could be sped up). For Charlex CG supers: Nikos Kalaitzidis, shoot days. To achieve the wet Had stunt guy jump onto still car, ECD: Alex Weil Jay Barton realism required, DD had to wheel married a pass of his lower body VFX supers: Alan Neidorf, Kevin Previs: John Allardice out proprietary software they to a pass of his upper body, put on Quinlan Lead composite: Stefan Gaillot developed for Day After Tomorrow Sr Flame: Marc Goldfine a new head then composited with For Spot Welders as the water alone would have Flame: Philana Dias, Kevin shot of him leaping and shot of car Editor: Michael Heldman been computationally impossible going by then added blur to make Quinlan, Tony Robbins, Rick Spain, on a commercial schedule. The the cars look faster. Questions? Evan Schoonmaker Toolkit “Professional driver on a closed Designer: Jeff Stevens Lightwave, Houdini, DD Proprietary course...” disclaimer is a nice For TBWA\Chiat\Day Producer: Abby Okin Software (Dirt, Nuke and Fluid touch. Check out the behind the ECD: Gerry Graf Sr producer: Anne Skopas Simulation Software), Linux and scenes video on the DVD. Copy: John Patroulis NT Workstations AD: Tony Bennett For Mackenzie Cutler Producer: Nathy Aviram Editor: Ian Mackenzie Toolkit Flame, Maya stash 03.07 stash 03.08 NWA “TRANSFORMATIONS” ADIDAS “CARRY” TVC :30 TVC :60 Client: Agency: NORTHWEST AIRLINES TBWA\CHIAT\DAY Agency: Director: CARMICHAEL LYNCH NOAM MURRO Production: Director: For TBWA\Chiat\Day BISCUIT FILMWORKS ARMAN MATIN AD: Geoff Edwards Production/VFX: CD: Chuck McBride VFX: RHINOFX EP: Jennfer Golub METHOD www.rhinofx.com Copy: Scott Duchon www.methodstudios.com The finished spot is 90 percent CG For Biscuit Filmworks The latest CG-free opus from but director Matin says live action EP: Shawn Lacy Tessaro Method went something like was crucial for determining the DP: Barry Peterson this: Hung from suspension rigs, look and feel of all the furniture. Producer: Jay Veal the first four guys jump onto rhinofx started with a two-day Kevin Garnett. Based on their For Method shoot on a motion control stage. positions a prosthetic is sculpted Lead VFX super: Alex Frisch Swatches of the furniture materials with a tracking cube on top that VFX: Cedric Nicolas, Andrew (leather, aluminum, molded allows Method to extract and Eksner, Alex Kolasinski, Brandon plastic) were then scanned with For rhinofx For Company 3 export Garnett’s movements Sanders, Todd Hemsley, Katrina high end reflectometers for use EPs: Rick Wagonheim, Colorist: Eli Friedman to the motion control set up at Salicrup with Bidirectional Reflectance Camille Geier GoMoCo. Later on set, 20 real Toolkit 3D tech supers: Andrew Bell, Distribution Function (BRDF) Live action producer: Terry people climb a 20 ft. high dummy- Maya with Mental Ray, proprietary Jame LeBloch software that allows for very McGinnis covered rig.
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