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. Coldrick: “The fact CG trees, snow and dust particles, Combustion/shake: Gavin Camp, the shaker is such a structurally Toolkit tree splinters, flying roof tiles and Becky Porter, Shane Zinkhon simple object and so well lit and Houdini the golf ball – all of which were Lead CG: Dan Marum prominent in the spot, actually married with the live action footage CG: John Leonti, Jamie O’Hara makes this task harder than when For Panic and Bob Matte painting: Dave Gibbons Editor: Brian Williams and matte painting background working with visually complex in Flame. objects with many materials. For Mackenzie Cutler For Notch Editor: Gavin Cutler There’s no moody, theatrical Colorist: Bill Ferwerda, lighting to hide behind, no textures Toolkit or other variations in color to help Music house: RMW, Toronto Flame, Combustion, Shake, Maya stash 61.05 stash 61.06
Lucchetti “Master of the 55DSL “Heavy Printing Zoo” Sopas”, Wheelbarrow” Viral 2:04 TVCs x 2 :46, :35 Director: Mutado
Client: Animation/VFX: Molinos Río de la Plata Mutado www.mutado.com Agency: Madre Mauro Gatti, CD at Milan design studio Mutado: “The clients Directors: asked us to create a special Andrés Alvarez music video for the Turbokrapen Agustín Torre x 55DSL x The Bloody Beetroots Moncho López 10.55 Tribute Jacket featuring the Animation: Bloody Beetroots song ‘Awesome’ REINO were needed to achieve the final (featuring the Cool Kids). They www.reinobuenosaires.com look of the skin, and the wigs wanted something funny, twisted of each character had a hand- and creepy so we created a gang Buenos Aries studio REINO painted texture.” of nasty anthropomorphic animals. handled the production on these One of our designers is still in latest spots in Madre’s ongoing For REINO rehab and another one is still lost campaign for the Lucchetti brand, Directors: Andrés Alvarez, Agustín in the forest.” Schedule: one month maintaining the series’ hilarious Torre, Moncho López from concept to the delivery. timing, minimalist sets and careful EP: Julia Tagger rendering. “The simplicity of the For Mutado modeling and textures combined Toolkit CD: Mauro Gatti with the complex and realistic Inhouse software Production: Davide Saraceno, lighting gave the scenes a balance Davide Ragona, Stefano between a real and a fantasy Ottaviano, Marco Nicotra world. Music: The Bloody Beetroots feat. The Cool Kids “Awesome” “This contrast between simple Audio mix: Matteo Manuel and complex was also used with Delgrano the characters: simple design and basic animation in contrast with Toolkit complex shaders – eight layers Illustrator, Photoshop, After Effects, 3ds Max stash 61.07 stash 61.08
“Neurosonics Urban TV Audiomedical Labs Inc.” Corporate video 1:45 Short film 2:42 Director: Client: Chris Cairns Universal Music Media Production: Directors: Partizan Eat My Dear Animation/VFX: Animation: The Mill Eat My Dear www.the-mill.com www.eatmydear.com Partizan director Chris Cairns For The Mill Patrick Sturm, director at Eat originally studied graphic design Producers: Miles Petit, My Dear in Vienna: “Universal at St Martins in London but his Gemma Smith Music commissioned us to subsequent switch to creating Post super: Jarvis create a presentation movie for moving images has earned Colorist: Jamie Wilkinson their recently launched Music him a trail of up-and-coming 3D supers: James Sindle TV Channel called Urban TV for director awards. Here he teams 3D design: Remi Dessignes screening at tradeshows and with a VFX crew at The Mill to 3D: Matthieu Bessudo internal and B2B presentations. It shoot live action talent rotating 3D design (monitors): showcases the different program at 33.3 RPMs at high-speed Charlie Bayliss formats and the channel identity, then match them to the DJ’s Flame: Adam Grint, Rich Betts all in a unique and not too serious turntables. 2D: Patrick Eley way. Sound design: Will Cohen. For Partizan Featuring: The Scratch Perverts, “One challenge was to transform Writter/director: Chris Cairns Foreign Beggars, Shlomo, Will the different program formats into Producer: Bonnie Anthony Clarke visually interesting micro-stories. DP: Luke Palmer For Eat My Dear Additionally, the visual style of Editor: Jake Randall-Cutler Directors: Markus Hornof, urban music is often driven by Production designer: Patrick Sturm stereotypes – we wanted to use Alex Marden Animation/design: Simon Griesser, only a few of them. We were Markus Hornof, Patrick Sturm, heading for a creative visual Isabella Thaller language that is interesting to Sound: Matthias Müller everyone.” Schedule: two weeks, including concept, design, Toolkit animation, and sound-design. Cinema 4D, Maya, After Effects stash 61.09 stash 61.10
FX Rebrand MTV Cinepop, Los 10 Mas Broadcast design Pedidos Broadcast design x 2 Client: Client: FOX FX MTV NETWORKS LATIN Director: AMERICA Artillery Design Director: VFX: MARIANO FARíaS Artillery Design Production: www.artillery-design.tv MTV BUENOS AIRES DESIGN Brighton, UK, studio Artillery STUDIO Design ramp up this FX channel Animation/VFX: rebrand by growing the humble GULA geometry of the red “FX tab” HOMBRE.COSA into what Artillery CD Richard www.holagula.tv Tilley calls “an infectious, and www.hombrecosa.com evolving organism that conveys animations were the raw material.” For GULA For Hombre.cosa entertainment and personality, Two recent broadcast clips Schedule: three weeks. Director: Mariano Farías Director: Julián Montesano originating in the Buenos Aires AD: Pablo Colabela AD: Mariano Benayón without separating from the “On ‘10+Pedidos’ we encouraged design department at MTV 2D animation: Mariano Farias, EP: Franco Bittolo brand.” Hombre.cosa to think outside the Networks Latin America and Pablo Colabela Production: Julieta Zajaczkowski typical MTV motion graphics as The IDs were shot on the Red produced at local motion shops 3D animation: Marino Farias Animation: Matías Sesti we wanted to lead teen audiences camera and tracked using boujou Gula and Hombre.cosa. Producer: Marina Fernandez Cufre Additional animation: away from the usual music and PFTrack. Tracking accuracy Camera: Marina Fernandez Cufre, María Eugenia Dipierri Camilo Barria Royer, art director countdowns that just announce was guaranteed by using a Leica Leandro Quiroga Compositing: Santiago Caffarena at MTV Networks Latin America: the winner of the week. We wanted Total Survey station on set to Projectors/mock-up development: 3D: Jorge Guesalaga “On ‘Cinepop’ we encouraged to take them to a funny and playful provide exact measurements for Sebastian Iannizzotto Music: Andrés Cáceres place where everything can matching the CG. The package For Artillery Design For Sonic Films Watch Behind the Scenes on Gula to stray from the computer Music/sound design: Santiago happen.” Schedule: five weeks was designed in After Effects with CD: Richard Tilley Red camera/online: Colm O’Reilly the DVD. and work with real elements. Lazarte Toolkit Lead animator: Sebastian Read Sound design: Stefan Dennis The technical challenge was to XSI, Photoshop, Illustrator, After all 3D animation and modeling For MTV Latin America 3D modeler: Phil Hope Estevez project simultaneously over several Toolkit Effects, Fusion created in XSI. Final composites VP Creative: Sean Saylor 3D assistant: John Hunt Music composer: Jim Brown planes with perfect registration Photoshop, Illustrator, After and grades were put together in CD: Juan Frontini 3D animator: Alex Holman of the mapped surfaces on the Effects, Modul8, Fusion, XSI After Effects and Final Cut. Toolkit AD: Camilo Barria Royer Storyboarding Animatics: volumetric shapes of the set. We XSI, After Effects, boujou, PFTrack Creative coordinator: Josefina For FX Garth Jones usually get animations at the end Briem Stamm Mark Harrison, Peter Bradley Final Cut of the process, but in this case stash 61.11 stash 61.12
Love & Anarchy 2009 Arla Foods “A Tale Of Two “Love In The Mountains” Spreads” Event open Online film 2:55 Client: Helsinki International Client: Film Festival Lurpak Butter Directors: Agency: Eliza Jäppinen & Outside Line Falconauts Director: Production: Kris Cook Anima Boutique Animation/VFX: Animation: Outside Line Anima Boutique www.outsideline.co.uk www.animaboutique.fi Director/animator Kris Cook at Helsinki animation studio Anima London digital communications Boutique let loose with an Anime- shop Outside Line: “The client influenced interpretation of the wanted something to educate Love & Anarchy theme of the viewers on the history, benefits Helsinki International Film Festival. and natural process of butter, as The tragic tale of romance and compared to margarine. monsters in the mountains, lovingly rendered in a mash-up of “I am very into minimal retro 2D and 3D, is designed to precede posters and most things vintage theatrical festival screenings at the moment so I wanted to across Finland. go for a semi-public service announcement style – as if you “For me it’s a lot about the sound For Outside Line Watch Behind the Scenes on For Anima Boutique Character design: Eliza Jäppinen, Compositing: Mari Tolkkinen, were watching three separate design, especially if the motion or Direction/design/motion/sound: the DVD. Directors: Eliza Jäppinen & Joonas Utti Heli Ellis shorts and an old school reel was style is quite minimal. So I ended Kris Cook Falconauts Title/graphic design: Music: Juri Seppä, Humina up layering on the audio in After Final script: Lucy Titterington For Love & Anarchy changed in between. I ended up in Producer: Anttu Harlin Antero Nuutinen Sound design: Jussi Honka, Effects whilst I animated and it Producers: Johanna Norrbacka, a mad rush at the end and pretty Toolkit Lead animator: Joonas Utti 3D toy demon: Jani Kuronen Humina really helped to bring everything Pekka Lanerva much free-styled 80 percent of the Photoshop, After Effects Assistant animator: Kiira Kalliomäki Editor: Mari Tolkkinen together.” Schedule: three weeks. Toolkit last section. I made the ‘butter- Backgrounds: Sami Saramäki, Effects animation: Heli Ellis, TVpaint, After Effects, Illustrator, henge’ with pieces of real butter Silver Saarmäel Mari Tolkkinen, Anttu Harlin Photoshop, Painter, Final Cut and ended up with a sticky camera for about a week. stash 61.13 stash 61.14
“Love_Child” “Artificial Paradise, Inc” Short film 1:30 Short film 3:20
School: Director: National Taiwan Jean-Paul Frenay University of Science and Animation: Technology Condor Directors/animatiors: www.condor.tv Sheng-Wen Hsiao Belgian director and visual artist Chun-Wang Sun Jean-Paul Frenay teams with www.flickr.com/photos/-st/ friends in the CG department This short film by Sheng-Wen at Condor’s Brussels facility Hsiao and Chun-Wang Sun, for this experimental narrative, students at the National Taiwan “anticipating a future where a University of Science and major corporation has developed a Technology, was featured at unique software, based on organic the SIGGRAPH 2009 Computer virtual reality, which holds all the Animation Festival. The directors lost memories of humankind.” with friends, to escape from my say their goal was to create commercial work and to push the “The main challenge was to “a visual capture of character- limits a bit further.” achieve the subtle mix of the creation software making digital organic and the mechanic, which Director/concept/editor/ construction of a newborn infant was really important to me. Real compositing: Jean-Paul Frenay ‘character’ that is both visually Flow and ZBrush helped us a and politically stunning.” For Condor lot getting the right look for the 3D super/compositing: Toolkit organic parts while the rest was Sandro Paoli Maya, Photoshop, After Effects mainly done in Maya and finalized 3D: Sylvain Jorget, in After Effects. Sébastien Desmet Additional 3D: Otto Heinen, “I didn’t really have a production Okke Voerman schedule. Everybody worked on Sound: Seal Phüric, Neptunian8 the project for free so we had to do it in our spare time. I was very Toolkit pleased that Condor accepted to Maya, Real Flow, ZBrush, After help me on this one. This project Effects, Photoshop, 3Delight, was mainly created to have fun Final Cut, Nuendo Enter code: 61DPSSF1 at: www.stashmedia.tv/promo to SAVE 25% Here’s your chance to own 30 extraordinary short Stash SHORT FILMS 1 delivers an international films by today’s most innovative directors – over two- program of festival hits and little-known gems PLUS and-a-half hours of sheer entertainment from Stash behind the scenes extras and a 40-page book of stills, DVD Magazine. credits, production notes and links for every project. stash 61.15
Modest Mouse “Whale Song” Short film 6:00 Record label: Epic Records Director: Nando Costa Production: Bent Image Lab Animation/VFX: Bent Image Lab www.bentimagelab.com For Bent Image Lab Art dept intern: Jessie Weitzel Director: Nando Costa Carpenter: Drew Lytle Freshly installed as a director and EP: Ray Di Carlo Graphic designer: Nando Costa partner at Portland’s Bent Image Sr producer: Tsui Ling Toomer 3D lead: Fred Ruff Lab, Nando Costa ransacks the Producer: Kara Place 3D: Eric Durante, Shirak Agresta studio’s rich array of in-house Prod coord: Ryan Shanholtzer 2D animation/compositing: Brian production capabilities to create DOP: Bryce Fortner Kinkley, Brian Merrel, Jay Twenge, this six-minute stir of live action, Motion control operator: McKay Marshall, Nando Costa, 3D, 2D, and stop motion for indie Jim Birkett Orland Nutt, Randy Wakerlin rockers Modest Mouse. Gaffers: Adam Burr, Jim Birkett Rotoscoping: Ben Blankenship, Nando Costa: “A production can Phantom HD tech: Benji Brucker Randy Wakerlin be wonderfully self-contained at PAs: Andrew Ellmaker, Charlie Compositing intern: Dustin Dybevik Bent – from building intricate props James, Esa Di Carlo, Morgan Stop-motion animation: Jen to figuring out complex CG shots. normally approach a project with rates, from six frames per second Mouse lead singer/guitarist Isaac Hobart, Samuel Moyle Prokopowicz, Marty Easterday I’ll walk over to the stage for live- such a strong motion graphics to 1,000 fps shot with a Phantom Brock to polish the film’s concept, Kinetic sculptor: Ben Hopson Still photography: Jared Tarbell, action then back to compositing influence, which is what I have long camera. but during production, the team Set design: Nando Costa, Nando Costa specialized in.” relied on their detailed script and load the footage and work Bent’s blue screen stages were Solomon Burbridge Processing: Barbarian Group containing technical and creative from there. It makes the whole Costa shot the majority of the used to place the talent against Set/prop fabricators: Daniel BTS photographer: notes, live-action and animation process immeasurably easier, piece with Bent’s RED One CG scenic elements and live- Miller, Eric Urban, Greg Fosmire, Ben Blankenship guidelines and specifications for creatively freeing. cameras, the 4K resolution action landscapes. Jamie Hanson, Jen Prokopowicz, Special thanks: Isaac Brock, Darrin composting and stop motion. allowing additional camera Justin Warner, Kimi Kaplowitz, Wiener, Linn Olofsdotter I typically wouldn’t have created a During pre-production, Costa Marty Easterday, Sarah Hoopes, film with this much live-action or movement to be added in post. He also used a variety of frame worked closely with MOdest Solomon Burbridge, stop motion, and Bent wouldn’t Art dept coordinator: Evan Stewart stash 61.16 stash 61.17
“WWF - Year of The “NEOsitrín” Gorilla” TVC :20 PSA :55
School: Client: University of Applied Sanofi Aventis, S.A. Sciences Nuremberg Agency: Client: Publicis Comunicación WWF International España Director: Directors: Ingo Walde Borja Arroyo David Cabrera Animation: Animation/VFX: Ingo Walde 23lunes www.einmalich.com www.23lunes.com
University of Applied Sciences three months for 3D modeling, Sergio Jimenez, PM at Barcelona Nuremberg student Ingo Walde animation and rendering; one animation studio 23lunes: “Sanofi- helps draw attention to the fragile Aventis wanted to make an week for compositing and sound to create a big amount of ‘optical For Publicis Comunicación Technical director/rigging/VFX/ state of the Mountain and Cross animated TV commercial but they design.” mistakes’ that you find in a real España fluids: David Corral River gorilla populations in Africa did not know what the possibilities camera, such as chromatic Creative MD: Marcelo Vergara Lead animator: Hector Romero with his diploma thesis project: Watch Behind the Scenes on were, in particular they didn’t know aberration, huge depth of field CD: Nacho Oñate: Animators: Gabriel Garcia, David an elegant, visually intriguing the DVD. the differences between 2D and with blur and optical deformations. AD: Nestor García Llopis and professional-quality spot 3D animation or what style they Idea/direction/animation: Thanks to these things we got to Head of AV production: Gustavo Character modeller: Rebeca marking the The United Nations wanted. Ingo Walde do a realistic-cartoon piece, which Samaniego Puebla International Year of the Gorilla Technical advice: “Their idea was to make a we love to do.” Graphic designer: Carlos Viana Props Modeller: Carlos Sánchez 2009 in cooperation with the WWF. Matthias Zabiegly commercial based on a main Sound effects/final sound mixing: Schedule: four weeks of design For 23lunes Ingo Walde: “The spot is mainly Compositing: Tobias Wiesner character (the louse) and the Idea Sonora, Pep Aguiló and pre-production, another four PM: Sergio Jiménez done in Cinema 4D with a spice Sound: Stefan Wühr world in which he lived. They had Subtitles/logos/copies/custom weeks of production and post. Realization/lead modeller/shading/ of After Effects and then some Supervision: already been working on this idea effects: Quique Medina, Albert lighting/rendering/post-production: Shake tweaking to get the final Prof. Jürgen Schopper and had the first storyboard which Watch Behind the Scenes on García Borja Arroyo look. Schedule was one month Advisor: Prof. Burkhard Vetter they asked us to work from. It the DVD. Realization/storyboard/animatic/ Toolkit for research and the basic idea Advisor: Manuel Casasola Merkle was a challenge to compress that matte painter/character design/ Maya, 3ds Max, openCanvas, working with just paper and pen; storyline into 20 seconds. For Sanofi Aventis, S.A. Toolkit background/texturing/post- Flame another month for storyboard Marketing manager: Oscar Alcaraz Cinema 4D, After Effects, Shake, In the final part of the post- production/soundtrack: animatic, styles and stuff; around Product manager: Sandra Arias Renderfarm by AixSponza production process, we wanted David Cabrera stash 61.18 stash 61.19 IF Försäkringar “The Pot”, Lily Allen “Fuck You” “Uneasyrider” Music video 3:40 TVCs :35, :30 Agency: Record label: Saatchi & Saatchi EMI Records Limited Stockholm Directors: Director: Arnaud Boutin Andrés Rosas Hott Clément Dozier Animation: Camille Dauteuille Happycamper Production: The Chimney Pot FRENZY Paris www.happycamper.tv www.thechimneypot.com VFX: Firm-Studio Director Andrés Rosas Hott at www.firm-studio.fr Happycamper Motion Design in Stockholm: “Since the rats Two weeks after signing with where already existing, but as communication was online and For Happycamper Motion Project manager: Henric Larsson FRENZY Paris for commercial stop motion, the first challenge over the phone. With the use of Design Producer: Björn Stigson and music video representation, was to give them new lives in CG cineSync we got dailies and gave Director: Andrés Rosas Hott Colorist: Edward Negussie the French directing team known while keeping their resemblance our feedback easily. I also wanted Flame: Peter Törnestam For The Chimney Pot as AB/CD/CD (Arnaud Boutin, to the previously established to keep a very high level of detail Sound super/mixer commercials: AD/animator: Alexander Koreshkov Clément Dozier and Camille concept. This proved to be a to give the viewer a resemblance Martin Mighetto EP: Roman Bazyuchenko Dauteuille) found themselves challenge since the complete of the old characters without it Film producer: Camilla Geijers MD: Irina Kolesova pitching EMI Records a quirky environment also had to be being too obvious, and the Kiev DOP/ live Aaction director: CD: Ruslan Ogorodnik wish-fulfillment concept for Lily redesigned to fit the new style. crew really understood that and Eric Broms 3D: Sergey Pogoreliy, Syplenko Allen’s “Fuck You” track. be close to the lyrics.” Schedule: For Firm-Studio We wanted to place the rats in a made the whole process really Producer: Sarah Grey Denis, Bogdan Oleynik six days prep, four-day shoot (one Post manager: Manu Beard more modern environment, with enjoyable.” Schedule: 18 weeks Elsa Rakotoson, producer at Sr 3D: Levgen Kulieshov Toolkit day of greenscreen), one week Post super: Julien Amiard typical Scandinavian surroundings, For Saatchi & Saatchi FRENZY says the cartoony result Character animator: Maya (animation), 3ds Max edit, four weeks for VFX. without placing them in any Stockholm Peter Shalkevich (modeling), V-Ray, Shake, Nuke, started with the brief to “find a Toolkit particular country. AD: Fredrik Svalstedt Sr animator: Eugene P. Hutsul Inferno, cineSync concept that works with or without For FRENZY Paris After Effects “We met once with The Chimney Copy: Henrik Berglöf TD: Kostia Rukavitsin the artist; one strong, creative Producer: Elsa Rakotoson Pot production team from Kiev in Project leader: Birthe Jörgensen Digital compositor: idea – something fresh that fits Lily DOP: Erwan Glajean the beginning of the project and Project manager: Marie Nodbrink Roman Onufriychuk Allen’s mood. We were also asked PA: Maud Hebert then had a couple of meetings Storyboard: Elias Khasho VFX super/lead compositor: to stick more to the feeling of the Directors: Arnaud Boutin, Clément song and general meaning than to Dozier, Camille Dauteuille face-to-face but the rest of our Yevgen Skorobogatko stash 61.20 stash 61.21
“Voltage” Saab “Change Perspective” Short film 4:13 TVC :40 Client: Directors: Saab Automobile Filippe Lyra Agency: William Paiva Lowe Brindfors, Production: Stockholm Bam Studio Films Director: Animation: Alphabetical Order Bam Studio Films Production: www.bamstudio.com.br Acne Film According to Filipe Lyra and Animation/VFX: William Paiva, directors at Brazil’s Swiss Bam Studio Films, the biggest www.swiss.se challenge in the creation of this short film was “to transform For Saab Automobile synthesizer modules into robots Client contact: Annika Priou, Tina that connect with each other in a Jarlerud, Martina Rosendahl, voltage-controlled philosophy. We For Lowe Brindfors had to figure out how a sound was ECD: Villard Bartholf constructed in an analog synth, CD: Magnus Wretblad how the signal goes through a AD: Rickard Villard, Patrik filter that is controlled by a low Westerdahl, frequency oscillator. These fine Copy: Martin Bartholf details made the plot closer to Producer: Mark Baughen what happens in a true modular Voltage has aired on Brazilian For Bam Studio Films Design/illustration: Filippe Lyra, synth patch.” For Acne Film TV and screened at domestic Written/directed: Filippe Lyra, Marcio Vieira, Felipe Soares, Director: Alphabetical order 2D frames were drawn and painted and international film festivals. William Paiva William Paiva, Natalia Franca DOP: Jo Eken Torp manually on old manila envelopes. Schedule: seven months. EP: Izabella Barros Melo Editing/post-production: Music: Asha Ali, Musicsupercircus The 3D geometry – designed and PA: Edgard Melo William Paiva, Leo D., Filippe Lyra animated with Blender – was used DOPs: Filippe Lyra, William Paiva Music/sound design: William Toolkit as reference for the illustrations Animation: Filippe Lyra, William Paiva, Leo D. After Effects, Maya, mental ray, Paiva, Marcio Vieira, Felipe Soares, Shake, Final Cut, 3ds Max and re-drawn on tablets. Toolkit Leo D., Tony Farias Photoshop, After Effects, Blender stash 61.22 stash 61.23
Nike Trainer 1 “ReRun” “Fitzgerald”, “Roy” Short film TVCs :40, 35 Director: Agency: For 1st Ave Machine Asif Mian Nike Brand Kitchen Director: Asif Mian Production: Director: DOP: Zak Mulligan 1st Ave Machine Art department: Sean O’Connor, Nike Brand Kitchen VFX: Dustin Highbridge 1st Ave Machine Animation/VFX: Live-action producer: www.1stavemachine.com Oh, Hello Rich Hutchins www.ohhello.tv EP: Serge Patzak 1st Ave Machine director Asif Mian Oh, Hello EP, Nathan Barr on the Post producer: Crystal Campbell zags away from commercial work two clips commissioned by Nike Editor: Asif Mian to experiment with the timeline of a young basketball player’s past to showcase the new Trainer 1: “We did not receive the final hero rowing machines, spools of string, For Oh, Hello Lead CG Artist: Mike Merron and future. “The largest creative challenge shoe from the client until nearly the yarn, balsa wood, tiny desk fans, CDs: Dan Brown, Thai Tran 3D: Ajit Menon, Tyquane Wright came in the boarding phase, and end of our production schedule. etc. If it was lying around, we Stop motion: Thai Tran, Sean Sound: H. Prizm, Antipop “A long time ago I started then resurfaced several times For the stop motion crew, it was probably scavenged it at some Pecknold, Michael Ragen, Consortium imagining capturing motion in one during production: We weren’t kind of worrisome to start a shoot point.” Tristan Seniuk Toolkit frame and began doing drawings able to legally portray many of the without a hero shoe; there was a 3D: Brian Demong of multiple frames of time in one For Nike Brand Kitchen 3ds Max, RPManager, V-Ray, inspirations that the athletes felt possibility it may not arrive when Animators: Dan Brown, Thai Tran composition. I thought about Nike ID manager: Matthew Millet PFTrack, Photoshop strongly about – school names we got to the shot that needed it. Compositing: Dan Brown, how someone could leave trails CD: Manny Bernardez couldn’t be mentioned or shown, Thai Tran behind them that were not a visual “We undertook an extremely DIY Sr copy: Jason Effmann or their logo, or a reinterpretation Producer: Nathan F. Barr effect, but actual things. This solution for the stop motion shoot, Sr. producer: Christa Panfilio of their logo, or a mascot. It got led to a basketball player leaving kluging together rigs from bits DP: Michael Fitzmaurice Toolkit to a place where even a sketch of trails of real sneakers and how and pieces of discarded items to Producer: Suzanne Best Dragon Stop Motion, After Effects, a jersey in the same color as one they represented his time and make our shots work: train tracks, VO recording: Jon Tendrich XSI, CS4 of the teams hinted at in the copy movement and how he interacted couldn’t be cleared. with it. “This presented an interesting “The basketball player was actually challenge: How do we illustrate wearing socks and stand-in shoes what the players are talking about that had to be removed from without showing anything directly the original footage, which was related to it? Kind of counter- intended to help us add the CG intuitive, but we felt it ultimately shoes in post.” made the pieces more interesting. stash 61.24 stash 61.25
“Rogue Warrior”, “Brink” Honda After Effects. There were a few 3D Game trailers 1:52, 1:18 “The Dream Comes True” elements created in Maya, such Short film 11:40 as the wheels or mechanical arm, but I preferred to work in 2D.” Client: from actors with military Schedule: 12 months. Bethesda Softworks experience augmented with close- Client: Honda Italia Industriale For Michele D’Auria Creative Agency: up, hand-held-style camera work, S.p.A. Studio AKQA gunplay and the gravitas of Mickey Rourke’s VO. “It was clear that we Director: Written/directed: Michele D’Auria Director: wouldn’t be able to show the kill Michele D’Auria Backgrounds: Simone Prisco Wiek Luijken moves in all their gruesome glory Animation/character design: Animation: Animation: and this in turn helped us build on Michele D’Auria Michele D’Auria Creative Axis Animation the creative decision that the hero Original music: Lino Studio www.axisanimation.com is never fully revealed adding to the Cannavacciuolo feeling of power and menace.” www.micheledauria.com Programming: Salvio Vassallo Glasgow’s Axis Animation and Inspired by the biography of Sound engineer: Goffredo Gibellini in-house director Wiek Luijken For Bethesda Softworks Soichiro Honda, Italian director/ Asst sound engineer: add to their extraordinary record Sr manager/public relations/ CD Michele D’Auria pitched Honda Federico Federici of game work with two new clips marketing: Erin Losi Italia on a short film focusing on Violin/zeta/kamanchè: for publisher Bethesda Softworks For AKQA the transcendent creativity of the Lino Cannavacciuolo through Washington DC agency Ex CD: Brendan DiBona legendary Japanese inventor. Voice: Ilaria Graziano AKQA. Account super: Ed Davies Woodwinds: Riccardo Veno “I wanted to express the genius of The “Brink” announcement trailer Piano: Piero De Asmundis For Axis Animation Honda through an idea that was features a single full-CG shot Orchestration: Lino Director: Wiek Luijken both simple and sophisticated and pulling out from an extreme close- Cannavacciuolo, Antonio Genovino Producer: Debbie Ross above all linked to the creativity up of an eyeball. Wiek Luijken: Sr CG super: Sergio Caires of children. As a boy, I was often Recording studio: Splash, Naples “The challenge with Brink is to Lead CG: Drew Robertson on a bike, and I remember during sustain the viewer’s interest with For Catsound International my races I’d apply a piece of so few elements to work with in the Toolkit Sound engineer: Lello Ambrosini cardboard between the fork frame. AKQA had a clear vision for ZBrush, Maya, Houdini, Mantra, and the rear wheel of my bike. Voiceover: Gianni Musy, Ken Belton what they wanted but we stripped Digital Fusion, Flame, modo The noise was deafening, and it back a bit during production to in my imagination that was my Toolkit: keep it even more minimal and motorcycle. After Effects, Illustrator, suggestive.” Combustion “All the characters were drawn on In contrast, the “Rogue Warrior” paper, brought into Illustrator and Watch Behind the SCenes on work builds on motion captured then reconstructed with masks in the DVD. stash 61.26 stash 61.27
“Miam!” “Engel zu Fuss” Short film 6:21 Short film 6:27 Directors: School: Jakob Schuh Supinfocom Arles Saschka Unseld Directors/animators: Animation: Laurent Harduin Studio SOI Delphine Bourgois www.studiosoi.de Victor Phrakornkham German animation talents Studio Pierre-Vincent Cabourg SOI last graced the pages of Stash Fanny Vergne in issue 12 when their mutli-award www.miam-lefilm.com winning short “Bunnies” redefined Co-director Delphine Bourgois: the boundaries of snappy motion “The main technical challenges and anthropomorphized critter of the project were to render design. This new film, about a realistic textures and to realize the wing-challenged angel named For Studio SOI production in five months. From Waltraud, has found glowing Directors: Jakob Schuh, reviews and multiple awards at October to January was pre- Saschka Unseld production, conception, searching prestigious animation festivals Production: Carsten Bunte around the globe including for images and references in the “We also had to resolve 3D Screenplay: Marcus Sauermann fields of animation, painting, food, technical problems, for example Annecy, Ottawa and SIGGRAPH. Graphics: Jakob Schuh Schedule: five months museums, all candy forms. the monster (caramel flowing), the Animator: Johannes Weiland, sugar of the river (particles). Sound Klaus Morschheuser, Michael “Then the scenario: We really design we made simultaneously Sieber, Maria Bogade wanted to tell a story, create our with the film. We finished at the Texturing/shading: own faerie tale. Victor and Pierre- end of June 2008, ready for the Saschka Unseld Vincent made the drawings of the diploma presentation.” Compositing: Mathias Schreck characters and backgrounds, 2D Soundtrack: Samy Cheboub Sound: Florian Dittrich, animatic and then the 3D animatic. Christian Heck We started the 3D in February. Voices: Hugo & Clément Cochet Making of: Matthieu Garcia, Music: Natalia DittrichVoices: Animation was hard, particularly Henriette Heinze the action scenes because of the Alexandre Cazals, Alexandre Vial acting (jumps, fighting, etc.) and Toolkit Toolkit there are a lot of shots. 3ds Max, V-Ray, After Effects, Maya, Combustion Photoshop, Premiere Pro stash 61.28
“The Pearce Sisters” Short film 9:12
Director: Luis Cook Production: Aardman Animations Animation/VFX: Aardman Animations For Aardman Animations Director: Luis Cook Staff director Luis Cook takes a “I knew I wanted to mix 3D CGI Adapted by: Luis Cook break from his commercial chores with 2D somehow – rough it up a Design/layout: Luis Cook at Aardman to adapt a short bit. I also thought a film that came Animation: Adam Cootes, Nigel story by UK author Mick Jackson out of the Aardman studio that Davies, Eve Coy, Theresa Whatley, into this bleak and visceral tale didn’t touch clay would be a good Emma Greenwood, Les Orton, honored with acclaim at a score of thing (actually we did model the Mårten Jonmark, Dan Lane prestigious international festivals. characters roughly in clay before Editor: Dan Williamson we built them in the computer). “I wanted to make the film Voices: Len Gray, Dan Williamson with live action men dressed “So we animated everything in the Sound super: Will Norie as women with makeup and computer with CG models, then Dubbing editor: Sean Richards prosthetics. But Peter Lord printed the frames out and worked Script editor: Phil Parker and Miles Bullough (head of over them in 2D, filling in the details Models/texturing: Andrew Lavery development at Aardman) wouldn’t and expressions and scanning it Compositing: Bram Ttwheam let me – in retrospect quite wisely. all back in over the 3D. This also Additional models: Tom Lord meant we could get fills, shadows Rigging: Steve Roberts “I looked at a lot of St Ives artists and textures from the 3D and all Technical director: Philip Child such as Ben Nicholson and the 2D looseness. The 3D also Thank you: Steve Harding Hill, Alfred Wallis and wanted to evoke gave the characters a sense of Darren Robbie, Chris Domaille, a bit of that natural, hand-drawn, reality, weight and volume, which I Hilary Jelbert, Laurel Jelbert Cook scruffy, naive, outsider art. I also thought important to the narrative. EPs: Peter Lord, David Sproxton, like the idea that this story could To hold it all together aesthetically, Miles Bullough, Helen Brunsdon have happened 50 years ago, I did a fully rendered design Producer: Jo Allen and as if the film itself had been for each of the 180 shots. So PAs: Maggie O’Connor, Elena washed up by the sea. I was also everyone - CG, 2D, comp - knew Wong, Rae Rawlings trying to make it austere and where we were headed.” Based on the story by: beautifully ugly, atmospheric. Mick Jackson stash 60 BONUS FILM
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