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61 A Perfect 10 Perfection is elusive. But when achieved, things come together perfectly. What’s true in life is also true in audio production software. Introducing Sound Forge™ Pro 10 software, the 10th version of the legendary audio editing and mastering application. This one scores a perfect 10. Long the professional standard for analyzing, recording, editing, producing, converting and resampling audio, New Motion+New Sound+New Code Sound Forge Pro 10 makes a great thing even better with these new features: event-based editing, integrated disc-at-once CD burning, élastique Pro timestrech and pitch shift plug-in, plus the Mastering Effects Bundle 2 powered by iZotope™ 9 —valued at over $200, and more. 0 motion graphics festival Sound Forge Pro 10 delivers the ultimate www.MGFest.com/09/Atlanta/ all-in-one production suite for professional audio recording and mastering, sound design, NEW audio restoration, and Red Book CD creation. Power. Stability. Reliability. This one’s perfect. Washington DC Motion Graphics Festival 2009 Visit your favorite retailer or www.sonycreativesoftware.com/perfect for special, limited-time offers on new Sound Forge Pro 10. Sound Forge Pro 10 Professional Digital Audio Production Suite November 19-22 Copyright © 2009. Sony Creative Software Inc. All rights reserved. SFP10_Perfect10_Stash.indd 1 8/25/09 12:20 PM Enter code: Fall is my favorite season for many reasons: the trees in Central Park 61PG3SF1 stage a spectacular show; New York asphalt returns to a solid; and the stash nip in the air dredges up memories of school. I adored school. From DVD MAGAZINE 61 at: kindergarten through college and onto a post-graduate stint at Sheridan www.stashmedia.tv/promo STASH MEDIA INC. College in one of the very first computer graphics courses on the planet. Editor: STEPHEN PRICE to SAVE 25% Publisher: GREG ROBINS Definitive data on the total number of schools now offering motion design Managing editor: HEATHER GRIEVE and “time-based digital media” programs are hard to come by. But a Associate editor: ABBEY KERR quick browse through the course catalogue of your local community Here’s your chance to own 30 extraordinary short films by Stash SHORT FILMS 1 delivers an international program of Account manager: APRIL HARVEY college, ivy league or high school will reveal yet another opportunity to Business development: master the art and craft of pixel massage. today’s most innovative directors – over two-and-a-half hours of festival hits and little-known gems PLUS behind the scenes PAULINE THOMPSON sheer entertainment from Stash DVD Magazine. extras and a 40-page book of stills, credits, production notes and The perennial concern among industry veterans is the sheer volume of Administration: students flooding out of these programs – Where are they all going to STEFANIE POLSINELLI links for every project. www.stashmedia.tv/SF1 work? A valid question but, I propose, one that assumes graduates are Preview/montage editor: HEATHER GRIEVE simple production units ready to plug into the assembly line. Art prep: Of course there are mundane tools of the craft to be learned, but at its ALAN SWINTON highest level motion design teaches us about color, movement, narrative, Proofing: MARILEE BOITSON perception. It also holds valuable lessons in collaboration, commerce Preview opening animation: TANTRUM and creative problem solving. These skills are foundational, life- Technical guidance: IAN HASKIN enhancing and transferable beyond this industry. Cover image: Here’s what I’m getting at: We need to open up our vision of what an AARDMAN ANIMATIONS education in motion design and animation can provide. Some English WWW.STASHMEDIA.TV Literature majors do go on to pay the bills by writing novels and a small ISSN 1712-5928 percentage of film school grads will indeed direct feature films. But most will use their knowledge as the bedrock for another career and the basis Stash DVD Magazine is published 12 times per year by Stash Media Inc. All rights for a more interesting life. I believe one’s years spent studying digital reserved and contents copyright Stash Media animation and motion design should offer the same opportunities. Inc. No part of this booklet nor the Stash DVD may be copied without express written permission from the publisher. Subscriptions: www.stashmedia.tv Stephen Price Submissions: www.stashmedia.tv/submit Editor Contact: Stash Media Inc. New York, Sept. 2009 35 McCaul Street, 305A Toronto, ON M5T 1V7 Canada [email protected] Curated in New York. Printed in Canada. stash 61.01 stash 61.02 IOC “All TOgeTher Now” Audi “INTelligeNTLy TVC :60 COmBINeD” TVC :45 Agency: for Cole & Weber United Agency: Cole & WeBer UniteD Creatives: Scott Fero, Jacob Baas, kemPerTrautmann gmbH Director: Greg Lane Director: FX & Mat Producer: Pete Anderson CarL EriK Rinsch CG super: Ronald D. Herbst Production: Ex CD: Todd Grant Production: VFX coordinator: Stephanie NexUs PrODUCTIONs For Nexus MarkeNfilm gmbH &CO. KG Escobar Animation: Directors: Fx & Mat Animation/VFX: Sr Flame: David Stern NexUs PrODUCTIONs EPs: Charlotte Bavasso, DigitaL Domain Flame: Matthew J.D. Bramante www.nexusproductions.com Christopher O’Reilly www.digitaldomain.com Editor: Russ Glasgow HOP: Julia Parfitt Previs: David Rosenbaum The first of two spots Producer: Christine Ponzevera The assembly of cars from shiny commissioned by the IOC to CG parts has all but become its Animators: Simon Dunsdon, Project Lead: David Fleet Adrian Dimond communicate the core values own genre of VFX, but this latest for kempertrautmann gmbh Digital artists: Tim Jones, Chris of the Olympic movement and Sound: Wave collaboration of Digital Domain and CDs: Gerrit Zinke, Jens Theil, Norpchen, David Liu, Masa Narita directed by director Carl Erik Rinsch (all CG Florian Weber, Tobias Ahrens, Music: Brains & Hunch Sr compositor: Rafael F. Colón except for the final product shot) Sönke Busch Nexus Productions’ directors Fx & Nuke compositors: Jacqueline pushes the reliable graphic device by dropping or sliding together ADs: Florian Schimmer, Mat: “The biggest challenge was Cooper, Sven Dreesbach into a more elegant space with which led to entire systems coming Simon Jasper Philipp the story, because we had a lot to Roto: Hilery Johnson Copeland, precise attention to detail and a together such as engine and Producer: Ruth Jansen show and make understandable in Karin Last only one minute. So preproduction pristine render. transmission. for markenfilm gmbh &Co. KG Integration tracker: Peter Herlein was very intensive. We don’t really DD VFX super Jay Barton: “The “The further we went along in Director: Carl Erik Rinsch like to start a production without for AUDIOfOrCe Thomas original creative brief was to have our animation tests, the build DOP: Martin Ruhe knowing clearly what we want Suess KG the entire car diced up as if it had process was guided by the actual HOP: Katie Stiebel and we always try to prepare it the Composer: Thomas Süss been put through a giant bread construction sequence at the Audi Assistant producer: Ruth Perk most we can. The other challenge slicer. In discussions with Carl, it factory. Our team met with two PM: Christopher Manz for NhB we had was a schedule issue, was decided to not cut the car up technicians from Audi who broke Mixers: Wenke Kleine - Benne, as the production was tight, the in an unnatural way but rather to down full engine, transmission For Digital Domain, Inc. Stefan Lügger team tried to overlap things to the assemble it from real individual car and headlight assemblies for us, President of commercials/EP: Ed maximum without compromising Toolkit parts as realistically as possible. laying everything out on a table so Ulbrich the result. It’s was hard but it Maya, V-Ray Having everything based on we could ask questions and take EP/HOP: Karen Anderson worked almost perfectly – we only gravity and inertia allowed us to reference photographs.” VFX super: Jay Barton spent one night at work.” facilitate parts joining VFX producer: Chris Fieldhouse stash 61.03 stash 61.04 Knorr “Salty” define it. The clear-coat ceramic OLD Spice “Different TVC :60 finish of Salty’s surface means 99 Scents” percent of a realistic look has to TVC :30 come purely from illumination and Agency: an accurate representation of how Agency: DDB Canada such a material reflects it.” W+K PortLand Director: for DDB Canada Director: David HicKS CD: Andrew Simon TOm Kuntz Production: AD: Paul Wallace, Shelley Lewis Production: Sons and DaughTers Copy: David Ross mJz Producer: Andrew Schulze Animation/VFX: Director: David Hicks VFX: AXYZ, TOronto The MILL LA For W+K Portland www.axyzfx.com For Sons and Daughters www.the-mill.com Creatives: Craig Allen, Eric Kallman John Coldrick, head of the CG EP: Dan Ford Producer: Andy Murillo Lead Flame artist, Phil Crowe, at department at AXYZ in Toronto: Line producer: Rob Allan The Mill’s LA facility: “As with many for mJz “DDB Canada didn’t want DOP: Adam Marsden of the commercials Tom Kuntz Director: Tom Kuntz cartoons. The animation was to be for AXYZ directs, the performance is a key DP: Salvatore Totino kept minimal, enough to convey Producer: Irene Payne factor in making this ad such a Producer: Scott Kaplan the emotion but not get into wacky On set SFX super: Dave Giles success. Although there are loads For The Mill LA ‘antics’. As far as look, photo- Lead animator/shading/lighting: of visual effects they do not lead Producer/EP: Arielle Davis/Sue realism was the buzzword.” Dennis Turner the ad. This meant we had to time Troyan Shading/lighting: Mario Marengo AXYZ optimized their use of the effects around the delivery of Lead Flame: Phil CroweFlame Tracking/shading/lighting: shaders to take advantage of the the script which was a challenging assist: Billy Higgins, Giles Jerry Corda-Stanley new Physically Based Rendering and exciting process.” Cheetham, Chris Knight, Tara Inferno: Andres Kirejew, engine in Mantra to get the Demarco Terry Power Those effects included creating desired look.
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