66 My son Jason will celebrate his seventh birthday this month, it will probably go something like this... stash Ben 10 or Bumblebee will adorn the cake and napkins and Bioncles and DVD MAGAZINE 66 Bakugan will be among the presents. On the way to the party he may watch Stash Media Inc. the video in the back of the cab but will hit the off button if it dwells too long Editor: Stephen Price on Fashion Week or any other “girly” subject. Before dinner he will spend his Managing editor: HEATHER GRIEVE daily ration of computer time (20 minutes) watching “Peep and the Big Wide Associate editor: ABBEY KERR World”, building Spores, or playing Lego Batman. If there is time after dinner Account manager: APRIL HARVEY he may ask to watch some of Attenborough’s “Planet Earth” or “Paddington Administration: Bear” on DVD. And bedtime will be preceded by half an hour of book time, STEFANIE POLSINELLI usually with Asterix or Tintin. Preview/montage editor: HEATHER GRIEVE The volume of options in Jason’s media diet may alarm some parents and Art prep: child psychologists: “His attention span must be terribly short . All those kids’ ALAN SWINTON shows are so mindless.” Proofing: MARILEE BOITSON Here’s the thing: Jason is not even close to overwhelmed. In fact, he chooses Preview opening animation: TANTRUM his entertainment from the media spectrum with unassuming confidence, he Technical guidance: IAN HASKIN slips witty and well-timed quotes from The Flintstones, Winnie the Pooh and Cover image: Ninja Turtles into conversation, and often turns what he calls “the screens” Alberto Mielgo off on his own and returns to playing with his toys or reading. Jason and his friends can relax through an 80-minute Pixar film and half WWW.STASHMEDIA.TV hour episodes of “Avatar: The Last Airbender” without even going for a pee. ISSN 1712-5928 And they absorb, recall and expand upon the complex (some would say impenetrable) mythologies and innumerable characters of franchises like Lego’s Bionicles and Bakugan. Stash DVD Magazine is published 12 times per year by Stash Media Inc. All rights This, to me, reveals two things that fly in the face of common wisdom: that reserved and contents copyright Stash Media content for younger audiences must be (a) short and (b) nutrition free. Inc. No part of this booklet nor the Stash DVD may be copied without express written Jason is a snapshot of your future audience. Please don’t disappoint him. permission from the publisher.

Subscriptions: www.stashmedia.tv Submissions: www.stashmedia.tv/submit Stephen Price Contact: Stash Media Inc. Editor 35 McCaul Street, 305A New York, March, 2010 Toronto, ON M5T 1V7 Canada Curated in New York. Printed in Canada. [email protected] stash 66.01 stash 66.02

Google “Parisian Love “Southern Comfort Story” Animation Cut” TVC :60 TVC :48 Agency: Agency: Google Creative Lab Arnold Director: Director: Aaron Duffy James Wignall Production: Production: 1stAveMachine Sherbet Animation: Animation: 1stAveMachine James Wignall www.1stavemachine.com www.mutanthands.com London-based director James Aaron Duffy and the 1stAve crew Wignall: “The brief was really open, spin a long distance love story they really just wanted something using nothing but tight editing, wit, that encapsulates the feel of New and the Google interface. Orleans: The people, culture, “The guys at Google Creative history and religion (especially Lab gave us a brief about finding voodoo). love in Paris and visualizing that “We had a month to design, render story through the Google search and animate 15 illustrations. It function. The original brief involved averaged out to only two days per the possibility of incorporating illustration – including animation more objects and images, but cultural understanding of this thing For 1stAveMachine For Analogue Muse (there were a lot of long nights in the end, we found that the (Google) in our lives that we use Director: Aaron Duffy Composer: Jeremy Turner spent on this project). interface by itself told the story in a every day and how to infuse it with EPs: Serge Patzak, Sam Penfield Sound designers: Geoff Strasser, profound way. emotion and narrative.” Producers: John Burger, Nick Cipriano “The tricky part was getting the Crystal Campbell client to sign off on the rough For Sherbet Toolkit “The biggest challenge was Created in five weeks, “Parisian For Muse Mix Head of creative development: illustration, as we couldn’t start Director/designer/animator: James Photoshop, Illustrator, After Effects figuring out how to tell a story that Love Story” was broadcast during Mixer: Nick Cipriano Claire Mitchell animating until that was done. Wignall people feel a connection to with the 2010 Superbowl. Concept art: Carlos Ancalmo Toolkit Thankfully they were quick at Asst animator: Tom Senior straight typography and Google After Effects: Joon Park, Adobe Creative Suite, iShowU getting back to us, but it could of Producer: Sarah Essam queries. We thought a lot about John Stanch, John Loughlin, been a real bottleneck.” Animation cut audio: David Kamp how to pull as much out of our Will Decker, Anthony Serriano, WeiTo Chow stash 66.03 stash 66.04

BBC Winter Olympics Esso “Engines” Broadcast design :40 TVC :60

Agencies: Client: Red Bee Media Cosan Combustíveis e RKCR/Y&R Lubrificantes S.A. Director: Agency: Marc Craste Lew´Lara TBWA Animation: Studio AKA Director: www.studioaka.co.uk Rodrigo Lewkowicz BAFTA-winning director Marc For Studio AKA Production: Craste, along with co-designer Director: Marc Craste Produtora Associados Jon Klassen re-work the origin of Producer: Sharon Titmarsh Animation/VFX: the Winter Olympics into a stylized Co-designer: Jon Klassen Casablanca tale of an Inuit hero. According Animators: Lucas Vigroux, www.cbsp.com.br to Craste, “The most important Max Stoehr, Florian Mounie, challenge of all was to create Norm Konyu Brazilian post company believable sporting action in Pre-vis: Anna Kubik, Max Stoehr Casablanca helps relaunch the animation, good enough to satisfy 3D team: Will Eagar, Daniel ESSO brand in South America with clients used to dealing with live- Garnerone, Adam Avery, this deceptively simple idea which action sports footage. In addition, James Gaillard, Rob Chapman, started with a two-day shoot at maintaining a sense of scale in Cristobal Infante, Fabrice Altman nine locations across Montevideo, the environments while using Editor: Nic Gill Uruguay. predominantly high contrast black PA: Janine Murphy Bruno Costa, post coordinator “We used a cube of about 50x50 and white. at Casablanca: “For the cars, we For Lew´Lara\TBWA For Produtora Associados Toolkit cm to reference the asphalt in filmed them driving normally then AD: Pedro Rosa Director: Rodrigo Lewkowicz “We wanted to preserve the After Effects, Photoshop, PFTrack. we photographed the wheels of Copy: Roberto Kilciauskas DoP: Fernando Oliveira graphic novel quality of the Softimage, Avid CDs: Jaques Lewkowicz, André Editor: Daniel Bontempo each car so we could project them “For the engine under the asphalt, imagery, and so where possible, Laurentino, Felipe Luchi and Victor onto 3D wheels and composite we created a detailed concept For A9 avoided using any depth of field Sant´Anna them. We chose to do the moving illustration, so the movements Sound designer: Apollo 9 and instead focused on the TVCR: Katia Bontempo Leal, Dani asphalt in Inferno with pictures of followed physically plausible composition of each shot, making Toda and Cristiane Leopacci Toolkit the texture, which were applied mechanisms. The post production sure the limited tonal palette didn’t Maya, Combustion, PFTrack, with the tool Extended Bicubic and team included five people, two for Watch Behind the Scenes on result in a diminished sense of Inferno, Smoke, Photoshop scale.” Schedule: 14 weeks. brought to life with Front Source. rotoscoping and three for 3D.” the DVD. stash 66.05 stash 66.06 For DraftFCB Army of Two: The 40th Day AD: Gregg Foster VANQUISH “Strobe” Copy: Jeff White Game trailer 1:21 TVC :30 Sr producer: Mark Tobin CDs: Tony Vazquez, Colin McRae Client: HoP: Dan Watson Client: DRAFTFCB / EA SEGA / PlatinumGames Inc. For Zoic Studios Agency: CD: Chris Jones Director: DraftFCB EP: Aaron Sternlicht Alexei Tylevich Director: Producer: Neil Ingram Animation/VFX: Zoic Studios PM: Stephen Chiu Logan CG super: Andy Wilkoff Animation: www.logan.tv Editor: Paul Kumpata Zoic Studios Storyboards: Yori Mochizuki Alexei Tylevich and his Logan www.zoicstudios.com Ripomatic/storyboard: Levi Ahmu, crew fuse pristine CG and kinetic DraftFCB and Zoic Studios join Dylan Ekren live action for this first look at the forces to create this adrenaline Model/texture: Adrian Gray, Shun highly-anticipated “Vanquish” stoked CG spot involving two Imaizumi, Dylan Ekren, Dustin game from PlatinumGames Inc. mercenaries and plenty of heavy Mellum, Maxx Burman, Joel Kittle, and SEGA. crossfire for EA’s third-person Chris Strauss For PlatinumGames Inc. shooter Army of Two. Zoic crafted Rigging: Scott Rosekrans, Game director: Shinji Mikami a war-torn Shanghai including fully Karl Fornander Game producer: Atsushi Inaba modeled environments, destroyed PreViz: Kelvin Lee, Dustin Adair, vehicles and characters developed Jeff Benoit For Logan by up-rezing and refining the Animation: Kelvin Lee, Dustin Adair Writer/director: Alexei Tylevich in-game assets, textures and Lighting: Andy Wilkoff, Adrian EP: Kevin Shapiro Toolkit geometry. Gray, Chris Strauss, Dave Funston Producer: Frederic Liebert Line producer: Michael Angelos Maya, Nuke, After Effects Created within Zoic’s proprietary Particles/FX: Jason Mortimer, Cinematographer: Roman Jakobi 64-bit pipeline, production Jeff Benoit Editor: Volkert Besseling was carried out in Maya using Matte painting: Syd Dutton, Production designer: Dani Tull its mental ray renderer with Charles Bunnag Costume designer: Paul Wendling compositing completed in After Compositing: Jason Zimmerman, Composer: Michael Kadelbach Effects, Nuke, and Flame. Motion Colin Feist, Zach Zaubi, Levi Ahmu VFX supers: Stephan Kosinski, capture animation was done at Mocap: VICON House of Moves Vincent Wauters, Benoit Vincent House of Moves. Schedule: eight Toolkit Lead compositor: Brandon weeks. Maya, mental ray, After Effects, Sanders Nuke, Flame stash 66.07 stash 66.08

“Spec Ops” “Nolan’s Cheddar” Game trailer 1:35 Short film 1:28

Client: Director: Take 2 John Nolan Developer: Animatronics: Yager John Nolan Director: www.johnnolanfilms.com Marco Brambilla After building an impressive CV Production of animatronics work on features Tronic including the Harry Potter films, Hellboy 2, Where The Wild Things Animation: Are and Clash Of The Titans, John Tronic Nolan began to “shift his focus www.tronicstudio.com towards directing.” Director Marco Brambilla teams “The mouse was sculpted two with New York’s Tronic to bury times bigger than the real mouse Dubai in chaos and mayhem in this by ex-Jim Henson’s Creature long-awaited promotional trailer for For 2K Games Shop sculptor Chris Fitzgerald. Take 2’s “Spec Ops” third person CD: Greg Gobbi From this I produced a soft shooter which also served as the For The Ebeling Group silicone skin and basic fiberglass prototype for the game’s visual pallets that I sanded and a steel treats blind side of the camera to Director: John Nolan Director/writer/editor: skeleton. Using radio-controlled aesthetic. frame found in a skip. I borrowed a entice her. I had to stabilize many Production design, lighting, Marco Brambilla motors and machined aluminum few flat lights and some redheads shots of Sniffles because I was animatronics, edit: John Nolan Tronic co-director Jessi Seppi: components. I animated the For Tronic: and shot the film on a Sony Z1 laughing so much I kept moving Camera: Sam Huntley “We built a huge database of visual fiberglass at the pivot points of the Directors: Vivian Rosenthal, high definition camera with a the camera. Sculptor: Chris Fitzgerald assets: From extensive ZBrush anatomy. When I was happy with Jessi Seppi Redrock lens adapter; this allowed Silicone specialist: Alex Wathey work for the characters, to hard the movement I glued the soft skin “I edited and graded on my laptop Music: Bjork me to use the Nikon lenses I had to Paint/hair specialist: Becky Cain and soft body dynamics in many of over the skeleton. I used Creature using Final Cut Pro. I cut the audio Sound design/mix: Q Department achieve a cinematic depth of field. Wink animation: John C Hedley the scenes, to advanced particle FX Painter and hair specialist tracks with Ableton Live and Puppeteers: Tom Blake, systems in Krakatoa and FumeFX Toolkit Becky Cain for the finishing; each “It took me months to source the placed them into Final Cut. Nolan’s Sam Huntley for the sandstorm and explosions. 3ds Max, Final Render, Final individual hair was painstakingly right live mouse. I eventually found Cheddar was shot over two nights, We also employed fracturing and Shaders, FumeFX, After Burn, punched in using a single needle. ‘Sniffles’ through a mouse club one for the live mouse and the Toolkit custom scripting tools to control Krakatoa, ZBrush, Vu Extreme in Bedfordshire. I disabled the other for the animatronic. The After Effects, Final Cut Pro “The set was built at home in my breaking glass and sync it with mousetrap and put the ‘Nolan’s animatronic was built over a three kitchen. I made it from old wooden gunfire, the wind and sand.” Cheddar’ on it with a few other week period.” stash 66.09

“Grow Underground”, “Come Together”, “Begin Again”, “Tell Your Own Story” Short films x 4

Client: Sundance Institute Director: Buck Animation/VFX: Buck www.buck.tv Buck CDs Orion Tait and Ryan Honey: “There were 186 films, documentaries and shorts featured at Sundance this year, and one of our shorts preceded every screening. Therefore, the challenge was to create something that felt fresh and innovative so it could be enjoyed through multiple For Sundance Institute For Buck Animation: Gareth O’Brien, Set construction: James Peterson, Kitty Dillard, Gareth O’Brien, viewings, and would connect to CDs: Robert Redford, Jan Fleming, CDs: Ryan Honey, Orion Tait Chris Phillips, Daniel Oeffinger, McPherson Downs, Colin Graham, Pete McDonald, Daniel Oeffinger, the message of getting back to the Josh Rogers EPs: Maurie Enochson, Conrad Ostwald Simon Chan, Tim Casebolt, Joe Conrad Ostwald core values of the Festival. Producer: Steve Celniker Kate Treacy Compositing: Moses Journey, Joe Mullen, Christina Newman, Jeremy Editor: Aristides Zamora “Each promo had its own technical Liasons: Jessica Buzzard, Producers: Eric Badros, Mullen, Chris Phillips, Sahlman, Chad Colby, Rose PA: Billy Mack challenges. There were many Robert Dick Alex Thiesen, Kitty Dillard Gareth O’Brien, Yker Moreno, Collins, Kitty Dillard, Victoria Grant, Original Music: John Forte techniques that we had never ADs: Yker Moreno, Gareth O’Brien Chad Colby, Jon Gorman, Erin Lindsey, Yker Moreno, Gareth For Martell Sound attempted before and there was Lead creatives: Jeremy Sahlman, Matt LaVoy, Markus Gustafsson O’Brien, Toolkit Sound mixing: Eric Martell a lot of trail and error. The two Joe Mullen, Jon Gorman 3D: Jon Gorman, Sarah Bocket, Chris Phillips, Ann Seymour After Effects, Dragon Stop Motion, trickiest were Grow Underground Laboratory services/on-line/film Design: Joe Mullen, Yker Moreno, Markus Gustafsson Stop motion: Chad Colby, Joe Maya, Illustrator, Photoshop, and Come Together as we had finishing: FotoKem Gareth O’Brien, Pete McDonald, CG super: Morris May Mullen, Jeremy Sahlman, Simon Cinema 4D never animated with fiber optics Daniel Oeffinger Construction consultant: Chan, Tim Casebolt, Sarah or wood before. Schedule: two Merritt Productions Kotoles, Ryan Honey, Chad Colby, months. stash 66.10 stash 66.11

BBC Knowledge TeleToon “Etucékoi TV “Eat Up Brain” Jingles” TVC :60 Broadcast design x 10 Agency: Agency: Three Drunk Monkeys ChezEddy Director: Director: Sean Pecknold Fraggleboo Production: Animation: Grandchildren ChezEddy www.chezeddy.com Animation/VFX: Grandchildren www.bygrandchildren.com The unlikely combination of visuals from Seattle director Sean Pecknold and the voice of British actor Richard E. Grant create a whimsical journey through vicariously linked truths on the way to rebranding the BBC Knowledge channel. Sean Pecknold: “The client wanted a 60-second animation to support “We also had to solve some flicker For Three Drunk Monkeys For Grandchildren their new positioning line ‘A Little issues that were caused by a faulty Ex CD: Justin Drape, Scott Nowell Animators: Britta Johnson, bulb. By the way, the snail’s name CD: Noah Regan Sean Pecknold Knowledge Goes A Long Way.’ Jean-François Bourrel, producer main characters of some animated Nicolas Hu, Jérôme Calvet, was Snaily and he was really great Copy: Damian Fitzgerald Sets/creatures: Matt Lifson, at ChezEddy in Paris: “Two years series broadcast on Teletoon – but Jean-François Bourrel “It was definitely a challenge to work with, he slept the whole AD: Matt Heck Britta Johnson, Sean Pecknold ago we imagined and designed a the situations and gags had to be Modeling: Olivier Guedj having to animate all the shots time.” Producers: John Ruggiero, Rotoscoping: Stefan Moore CG animated TV series ‘Etucekoi’ fun, without attacking the other Animation: Wassim Boutaleb, in a little less than a month. But Thea Carone Painter: Matt Lifson Watch Behind the Scenes on (‘Guess What’) for French TV heroes.” Schedule: one month (for Julien Jallet it forced us to be smart about Content director: Dan Beaumont Effects DP: Michael Ragen the DVD. channel Teletoon. Gradually these 10 clips). Rendering/compositing: what materials we used and how Content manager: Brad Firth Editorial/compositing: characters have become the Vincent Hochet, Romain Faure we approached each set-up. We Toolkit Grandchildren For ChezEddy Director: Sean Pecknold mascot of the channel. had to use rigging for many of Dragon, After Effects, Final Cut, Colorist: Sam Atkinson, Lightpress Director: Fraggleboo Toolkit Producer: Aaron Ball the shots, so there was a lot of Photoshop, Q-Color Sound design/mix: “In these jingles our little Artistic director: Jérôme Calvet Maya, Fusion Narrator: Richard E. Grant rotoscoping to be done. Justin Braegelmann characters have fun imitating the Writers: Alban Vandekerkove,

stash 66.12 stash 66.13

The Adam Haynes FUEL TV Los Premios 3009 Signature Series TVC :60 Broadcast design :45 Client: Client: Fuel TV MTV Director: Director: Adam Haynes Tomas Garcia Production: Animation: Royale Peppermelon www.peppermelon.tv Animation: Royale Buenos Aires creative force www.weareroyale.com Peppermelon catapult the 2009 Latin American MTV Awards deep For Peppermelon Oregon-based artist/illustrator into the future with this hyper- Director: Tomas Garcia Adam Haynes and Los Angeles detailed teaser spot. EP: Fernando Sarmiento studio Royale team up for the Yahoo! and Wonka producer: latest in Fuel TV’s long-running “The main idea here was to Ignacio Godoy commitment to mixing art with envision Los Angeles, Buenos Asst producer: Guido Antonucci the airwaves. Aires, Bogota and Mexico City in PM: Martin Dasnoy the year 3009. In order to create “I’ve been painting these stick ADs: Juan Molinet, Tomas Garcia the most realistic future cities, waves for a while now,” says Assistant designer: Ivan Flugelman we studied religion, society, Haynes. “I’ve wanted to animate Matte painters: Federico Ben, technology, transportation and one, and this was a perfect Guillermo Kelly, Martin Dasnoy, each society as a whole to figure opportunity to make it happen.” Juan Molinet, Ignacio Godoy how it would look in 1000 years.” Matte painting LA: Mikael Widegren For FUEL TV For Royale Modeling/lighting: Julio Velazquez, SVP/GM: CJ Olivares CDs: Jayson Whitmore, Brien Guillermo Kelly, Leandro Muchenik CD: Todd Dever Holman Rigging settings: Martin Dasnoy Director on-air promotions: EP: Jen Lucero Animators: Martin Dasnoy, Ignacio Michael Cooley Producer: Anne Hong Godoy, Mateo Amaral, Julio Concept/artwork: Adam Haynes Animators: TJ Sochor, Mike Velazquez Music/sound design: Michael Humphrey Compositors: Fernando Sarmiento, Kohler Designer: Kyle Smith Ignacio Godoy, Federico Ben Editor: Fernando Sarmiento Toolkit After Effects, Photoshop, Illustrator Music/sound design: David Kamp stash 66.14 stash 66.15 For Interscope Records Deke Kincaid, Danny Koenig, The Black Eyed Peas Video commissioner: Evan Parsons, My Tran Raekwon “House of Flying For The Chain Gang “Boom Boom Pow” Kathy Angstadt Flame: Matt Motal (1.1 VFX), Daggers” Directors: Erick Sasso, Danny Yoon (1.1 VFX), Chris Music video 3:30 For Motion Theory Music video 4:54 Brian Wendelken Moore, Rob Winfield Director: Mathew Cullen, Animation: Ryan Johnson, Record label: Matte painter: Ram Bhat Client: Mark Kudsi Drew Taylor Interscope Records Rotoscope: Amy Paskow, Ice Water Inc. EP: Javier Jimenez Producers: Erick Sasso, Megan Gaffney, Kanae Morton, Directors: Line producer: Anna Joseph Directors: Brian Wendelken, Larry Bernardo Eva Snyder, Sam Winkler Mathew Cullen DP: Jeff Cronenweth Erick Sasso Editor/VFX coordinator: Post PM: Sheri Patterson Mark Kudsi Producer: Patrick Nugent Brian Wendelken Erick Sasso Post PA: Paul Pianezza VFX super: Bryan Godwin Associate producer: Production: Sched coord: Tina Van Delden Production: Motion Theory Tech lead/AD: Keith Pasko Chain Gang Productions Mario Mascetti Design lead: Brian Gossett For String Asst director: Ben Chacko Animation: Animation/VFX: CG lead: Danny Zobrist Editor: Doron Dor Lighting Tech: John Rosario Chain Gang Productions Motion Theory Lighting lead: Charles Paek CG super: Jason Ortiz For Image Metrics 1000styles www.motiontheory.com Compositing super: Stuart Cripps PA: Woo Kim EP: Patrick Davenport www.chaingangproductions.tv Concept artist: Carm Goode This Grammy-winning video for the Producer: Pampata Jutte www.thousandstyles.com For Lost Cause Studios Pre-vis: Rocky Curby first single from The Black Eyed Director production: Pete Busch Animation consultants: Bleu Bailey, Peas album “The E.N.D.” anchors Research: Amy Paskow, Erick Sasso, director for The Chain Ramon Sosa an integrated global campaign Jesse Sorin For House of Moves Gang: “The idea was to portray (including viral marketing, print Designers: Max Groff, Paul VP of production: Brian Rausch the Wu-Tang Clan’s philosophies Toolkit ads, album art, concert design Kim, Jesse Sorin, Angela Zhu EP: Scott Gagain regarding the similarities between Photoshop, After Effects, Swift 3D, elements) created by Motion Programmers: Ryan Post PM Amy Calcote growing up in the ‘hood of Staten 3ds Max, LightWave 3D, Final Cut Alexander, Josh Nimoy, Island and living in ancient oriental Theory in Venice, CA. Toolkit Keith Pasko cultures as depicted in their Maya, mental ray, Nuke, After “The band and their performance 3D generalists: Ben Grangereau, favorite Kung Fu films. Effects, Processing, Photoshop, were recreated digitally through Troy Barsness ZBrush, Facial Capture, Motion “With the help of a bunch of digital scans of their faces, and Motion capture tech: Capture, Motion Builder, C++, anime cartoons, such as Ninja with Fergie, her whole body. The Jesse Carlson Open GL, Flame Scroll, Afro-Samurai, (and a few biggest technical challenge was Motion capture animators: bridging the gap between the other goofier ones), as well as John Tumlin, Robert Bardy a stack of old-school kung fu custom programs developed Lighter: Kevin Jackson in-house with Motion Theory’s films all curated by Wu-Tang lead Riggers: Jesse Carlson, member Raekwon, we got a feel existing Maya and rendering Mauro Contaldi pipeline to combine all the digital for what we wanted to accomplish Modeler: Troy Barsness and began writing the treatment assets including the mo-cap data.” Compositors: Andrew Ashton, Schedule: three months. and storyboarding the project.” Casey McIntyre, Robin Resella, Schedule: three weeks. stash 66.16 stash 66.17

Nike “Wayang” Greenpeace “Coal Story” TVC (spec) :60 Viral :60

Directors: Agency: Simon Cassels Ogilvy Beijing Justin Blampied Directors: Animation: Doug Schiff Simon Cassels Fei Wang Justin Blampied Animation: www.simoncassels.com VigorTime www.rainorshine.tv Doug Schiff, CD, writer and co- Asylum CD Simon Cassels and director at Ogilvy Beijing on the UK AD Justin Blampied finally making of “Coal Story”, part of the release the Nike spec spot they Greenpeace campaign to educate started mid-decade, a kinetic and emerging markets about and engaging tale based on Indonesian persuade governments against the shadow puppet theatre. use of coal: Cassels: “It’s all done in After “The budget was only US $7,500, Effects with a little Maya help. so we had to look high and low for It’s a simple story of love and production help that could give us perseverance over adversity… a simple, emotional 2D style, but which was rather indicative of the also do it for hardly any money. project itself. We quickly realized we would have “The Greek goddess Nike, the to find an animation school. The personification of victory, seems to challenge then became working embody the spirit that is pushing with very inexperienced kids and Finally we used a core group of For Ogilvy Beijing For VigorTime our protagonist through this story. keeping them encouraged through three or four students. We worked CDs: Doug Schiff, Yanyan Yang Animation lead: Hong Yu, Li Jie, Having this ancient lore play the tiring process of this kind of around their school schedule and Writer: Doug Schiff Zhang Aihua against the heritage of the wayang animation. had many, many revisions. All in all ADs: Fei Wang, Yimeng Bai, 2D: Fang Xiaodong, Yang Qian, it became a rather drawn-out five- Yanyan Yang Hou Kun, Gao Lue, Wu Xiandeng, technique brought an interesting “The pencil drawing style had to mix of ideas to the table.” month project. Producers: Fei Wang, Yimeng Bai, Zheng Wenguang, Deng Nanbing, be consistent through over 700 Doug Schiff, Lulu Yang Sun Yuzhen For Greenpeace Toolkit sketches. We initially tried to use Directors: Doug Schiff, Fei Wang Illustrator, Photoshop, After a larger group of illustrators but Client: Sze Pang Cheung Toolkit Effects, Final Cut, Maya found the styles differed too much. Photoshop, Animo, Premiere stash 66.18 stash 66.19 The Rethink Scholarship U.S. Census Bureau Viral 1:10 “Community” TVC :30 Client: Agency: Langara College GlobalHue Latino Directors: Director: Rory O’Sullivan Shilo Taran Chadha Animation/VFX: Production: Shilo Rethink www.shilo.tv Shilo helps the U.S. Census Animation: Bureau engage the 47 million Rethink lights and it did the trick. It actually stong Latino community with a www.rethinkcommunications.com ended up adding a nice bit of visual interest.” Schedule: one combination of clay and CG magic Vancouver creative agency Rethink month. married with live action. pairs solid creative advice with Shilo CD/co-founder Jose Gomez: clever, hands-on design to attract For Langara College “We loved the metaphor of the talented students to the Langara CDs: Ian Grais, Chris Staples census as clay in people’s hands: College Rethink Scholarship. AD: Rory O’Sullivan Writer: Simon Bruyn when you’re filling out a census impressions in the CG renderings For GlobalHue Latino 3D model/animation: Blake Guest, According to Rethink’s Chelsea Client super: Chelsea Stoelting form you’re imagining what your to make them feel more real, CD: Amany Mroueh Trentity De Witt, Zach Christian, Stoelting, “The sketchbook was community can be. Everyone and used subsurface scattering Ass CD: Felipe Godinez Mason Stapleton, Colin Cromwell bursting with all the different For Rethink embraced that idea, and in the techniques to take the look closer Sr copy: Gerard Garolera 3D lighting/rendering: elements, so when it came time Directors: Rory O’Sullivan, finished spot, the community the to the border between reality and EP: Rosa Matos Erik Anderson, Walter Schulz to perform the book (it’s not stop- Taran Chadha little girl creates is connected to imagination.” Compositing: Mike Slane, Ed Laag For Shilo motion), each take would create a Line producer: Ann Rubenstein her imagination through our visual Rotoscoping/3D tracking: Watch Behind the Secenes on CD: Jose Gomez lot of wear and tear on the pages, Editor: Chris Nielsen storytelling. Tim Turner, Nathan Davies the DVD. Associate CD: Mike Slane so I had to get it right quickly. Account Director: Chelsea “Our goal was to ensure that DoP: Martin Ahlgren Composer: Face The Music Stoelting For U.S. Census Bureau “When we got to the white on every character or clay creation EP: Santino Sladavic COTR branch chief: Talent: Brianna Gonzalez white ‘Leave an Impression’ Audio: Chris Serravalle reinforced Brianna’s charming, Sr producer: Hilary Wright Kendall Johnson spread it totally disappeared on easy-going personality, so we did Line producer: John Gomez Toolkit Program analyst: Angelia Banks Toolkit film. For a moment I thought the things like making the characters Coordinator: Brittany Geber Final Cut, lots of pens, paper, Hispanic consultant: Adobe Creative Suite, Maya, hours of manual embossing were very simple in design. Then, based Editors: Adam Bluming, scissors, glue, double-sided tape Rafael Ignacio Maldonado After Effects all for naught. But then I reached and Exacto knives on our motion studies of clay, Akira Chan over and switched off one of the we used actual fingerprints and 3D lead: Blake Guest stash 66.20 stash 66.21

Tostitos Dips “The Amazing PUMA The Games We Play Flamenco Chef” “Moto” TVC :30 TVC :60 Client: Director: Frito Lay Jared Eberhardt Agency: Animation/VFX: Goodby, Silverstein & Jared Eberhardt Partners www.jaredeberhardt.com Director: Jared Eberhardt, director, Long Nicholas Weigel Beach, CA: “I wish I had a great Animation: For Frito Lay Joe Beckly, Nicholas Weigel, Texture: Nick Nakadate, story about concepting on this LAIKA/house CMO: Ann Mukherjee Ric Sluiter Peter Stuart one, it just sort of grew organically. www.laika.com/house Brand manager: Tyler Reeves Character design: Ben Chan, Animators: Kameron Gates, Joe Puma’s CD initially approached Don Flores, Josh Harvey, Aaron Gorski, Michelle Gorski, Greg Kyle me about piggy-backing on an Nicholas Weigel, director at For Goodby, Silverstein & Sorenson, Nicholas Weigel Riggers: Terence Jacobson, upcoming catalog photo shoot to LAIKA/house in Portland, Partners Storyboard: Ben Adams, Chris Mike Laubach make a simple stylebook video. OR: “We had only one main DoBP: Cindy Fluitt beginning until everyone learned For Puma Key grip: Chris Hyde Purdin, Aaron Sorenson, Valentino FX: Fernando Benitez, Craig He also asked if I had any set character to animate, but she CDs: Rick Condos, Hunter what to do and we could get it CD: Alex Lowe Lighting board: Diego Garcia So, Nicholas Weigel Hoffman, Eric Kuehne, Karl Richter design ideas to show Puma’s dons a six-layered ruffled dress Hindman all in one take. I had to stay next Director: Jared Eberhardt Still photographer: Jon Johnson Matte painters: Joe Beckley, Render wrangler: Jason Potter playful attitude toward sports. I and moves around blowing AD: Katie McCarthy to the jib operator and keep him Asst director: George Nessis Wardrobe: Gena Tuso Don Flores CG dept manager: did a sketch of the set with all the up vegetables. Knowing there Copy: Jessica Shank following the action while the AD Second asst director: Makeup: John McKay, Lead TDs: Rick Sevy, Stephen Martinez doors and stairs, we had a quick were going to be some fast and Producers: Todd Porter, talk about the possibilities of what would cue the actors. Sendeu Flippin Nathan Dwell deliberate actions that are difficult Patrick Van Pelt Director, digital design: Dan Casey Producers: Jared Eberhardt, Hair: John Ruggiero, Jon Drawbaugh, Tony Joo could be going on inside all these “If you listen to the actual audio it with dynamic cloth simulation, we Texture/light/comp lead: PAs: Dave Gulick, Vanessa Walker Imari McDermott Sandra Jahannia rad little spaces and then the sounds really crazy with all of us developed a method to blend the For LAIKA/house Dan Casey, Saira Mathew DOP: John Nolan ADs: National Forest, Justin Choreography: Ginger Gonzaga project started to grow. yelling instructions. It only took a dynamic sim and the animator’s Director: Nicholas Weigel TDs: Joe Beckley, Dan Casey, Ben Wrangler: Rob Melchior Kreitemeyer, Steven Harrington couple hours usually to get the For Company Inc Sets rig. There were some instances EP: Jan Johnson Fischler, Thane Hawkins, Micah Gaffer: Ted Jackson “Everyone ran pretty much around Art department: Sara Newey, choreography down. I cast actors Construction: Bill Horbury, Reno where we used 100 percent sim President: Lourri Hammack Henrie, Alex Inman, Saira Mathew, Stage manager: Erica Johnson the clock designing, outputting, Laurel Hitchin, Justin Trask, who were friends or friends of Spear, Patrick Spall, Miguel and others where the action was CD: Kirk Kelley Andrew Nawrot, Eric Wachtman, Editors: Michael Corrigan, coming to set to art direct the Christy MacCaffrey, David Lafond, friends and are directors, comics, Burris, Paul Carr, Dayne Oshiro, so fast that it required the animator Producer: Rebecca Bowen Nick Nakadate, Peter Stuart Todd Gilchrist photo shoot, then back to painting, Matt Carey, Jonathan Miertchin, artists or musicians, so we had a Beth Goodnight, Jonny Hirsch, to add action by hand. On the FX CG PMs: Annie Pomeranz, Layout: Rick Sevy, Patrick Van Flame: Rex Carter cutting and gluing things for the Matt Carey, David Lafond, Sadaf lot in common and a really great Christopher Pippen, Andy Holder side, we developed ways to create Joelle Spencer-Gilchrist Pelt, Kameron Gates, Nicholas Tape Op: Travis Ezell next day. Azimi, Vanessa Lam, Andy Holder vibe on set.” Music: The Shag “Stop and Listen” condensation, fluid explosions, Prod coord: Nicole Fitzhugh Weigel, David Trappe Scheduler: Melissa Tvetan Gaffer: Chris Dale AD: Rick Sluiter, Nicholas Weigel Modelers: Chris Boylan, “Then as soon as we were ‘on’ waterfalls and vegetables that Toolkit Jib operator: Lou Duskim, Toolkit Background/environment Design: Ty Johnson, Allan Steele, Josh we’d bring in the actors and build explode into diced pieces.” Maya, Houdini, RenderMan, Mike Pusatere Final Cut, After Effects Don Flores, Jenny Kincade, Tonneson, Chris Tran each shot in stages from the Production schedule: 10 weeks mental ray, Nuke, Flame, Qube AC: Jaxon Woods stash 66.22 stash 66.23

OK Go “WTF?” “Valse Statique & la Music video 3:30 théorie du combo” Short film 2:35

Record label: School: EMI/Capitol Records ESAG Penninghen, Paris Directors: Director: Tim Nackashi Maxime Bruneel OK Go Animation: VFX: Maxime Bruneel Tim Nackashi www.maximebruneel.com www.timnackashi.com For his final school project atE SAG Combining choreographed Penninghen in Paris, Maxime chaos, greenscreen and the After Bruneel tackled the brief to Effects plugin “Echo,” director explore the transformation of ideas Tim Nackashi pulls off an edit-free head-on by illustrating “a train of spectacle of chroma-overload in thoughts” without storyboards or this one-shot video for OK Go. sketches. “Once I settled on a technical “It is a 12 fps animation and each process to create the effect, the frame could have been the start of creative challenges revolved 10 different ideas. I spent several around setting up a sequence that days sometimes, trying to find the manipulated the entire canvas in following frame.” new and interesting ways over the Bruneel says the main technical course of the song. challenge of the project, which “After the hundreds of run- includes a 50-page illustrated throughs we did to create the that would ruin an entire take – Director: Tim Nackashi book, was creating all the ‘choreography’, we shot about 120 especially as time was running out. Producer: Clark Reinking animation in Photoshop with a Schedule: “Three months. One to The band worked with incredible attempts. Almost a third of them Toolkit graphic tablet. The sound was figure out the creative process, diligence to execute the elaborate were thwarted by bubble-soap Final Cut Pro, After Effects created in parallel with the visuals two months of animation and that was just not bubbly. moves, and there were also many by Frédéric Chapron. illustrations for the book.” friends on hand who helped keep Watch Behind the Secenes on “There was a lot of pressure the band in time, on point, wearing the DVD. Music: Frédéric Chapron mounting on the second day the right clothes, and holding the Toolkit to avoid any small missteps right props.” Photoshop, After Effects stash 66.24

“Pinkman”, “Pill”, “Philips” Spec spots x 3, :29, :21, :28

Director: Alberto Mielgo Animation: Alberto Mielgo www.albertomielgo.com Working weekends, nights, and during his holidays, Spanish artist/ animator Alberto Mielgo combined his love of “pencils and painting” with CG animation to create an exciting new look without the aid of filters or rotoscoping. “I did work as a 2D animator for “Pinkman” a while. When the 3D came I Director, writer, animation, had to make a decision: fine art compositing, music/sound: or CGI animation. So the main Alberto Mielgo creative challenge was to merge “Pill” my artworks and paintings with my Director, writer, animation, animation. compositing: Alberto Mielgo “The most important challenge Sound: Luis Iruela was to keep it as traditional as “Philips” possible. Everything is hand Director, writer, animation, drawing and hand painting. I compositing: Alberto Mielgo wanted to be as close to fine art as Sound: Luis Iruela possible, so ink and painting flow over the animations.” Toolkit After Effects, Photoshop stash 66.25 stash 66.26

AIDES “Graffiti” Motorola C13 Viral 1:37 TVC (spec) :37

Client: Agency: Eyeball NYC TBWA, Paris Director: Director: Oliver Navarro Schroeder Yoann Lemoine Production: Production: Navaroe Bureau Wanda Animation/VFX: Animation/VFX: Oliver Navarro Schroeder Mikros Image www.navaroe.net Wanda Director Oliver Navarro Schroeder: www.mikrosimage.eu “Originally this spot was part of an www.wanda.fr advertising campaign around the In 1987 the French association Motorola Razr2 done at Eyeball AIDES fought successfully to in New York, but it developed into make TV advertising for condoms something apart from the main legal for the first time. More campaign and was regarded as an recently, the group continues independent project. to ruffle conventions and push “‘Motorola C13’ is an attempt buttons by evangelizing safe sex to animate, visualize and revive in provocative and often hilarious the mysterious aura that comes viral clips. with crop cycle design while The newest effort, with restroom displaying and selling a product graffiti-inspired animation and of earthly technology. The main post work from Wanda and Mikros Producers: Maxime Boiron, Lead compositing 2D: Vincent For Mikros Image creative challenge was the design Image, has generated well over Virginie Chalard Venchiarutti Post production: Pascal Giroux of the symbols. They had to be three million views online so far. Digital team: Till Aurousseau, Lead animation 2D: Yves Bigerel Sound production: Aoc-Attention sophisticated, display an intelligent Guillaume Lartigue, Maison De Compositing 2D: Jean Yves O Chiens superiority and be highly abstract For TBWA, Paris Production Parent, Rémy Soyez Composers: Fabrice Smadja, Agency: Anne Vincent, Véronique Animation 3D: Morgan Sagel, Pascal Bonifay and readable at the same time.” For Wanda Schedule: one month. Fourniotakis, Anne-Laure Brunner Mickael Nauzin CDs: Eric Holden, Rémi Noel Director: Yoann Lemoine Toolkit Music: Yoshi Sodeoka AD: Ingrid Varetz Post production: Olivier Glandais After Effects, Flash Designer: Barthélémy Maunoury stash 66.27 stash 66.28

“STORYVILLE” “Old Fangs” Short film 6:00 Short film 11:26

Director: Director: For The Cartoon Saloon Mr. Tea Adrien Merigeau Producer: Ross Murray Team: Adrien Merigeau, Alan Production: Production: Holly, Rory Byrne, Jonas Hoffman, SUPINFOCOM Valenciennes Irish Film Board Ross Stewart, Alan Slattery, Animation: Animation: Martine Altenburger, Le Quan Mr. Tea The Cartoon Saloon Ninh, Laurent Sassi, Tomm Moore, www.mrhyde.fr www.cartoonsaloon.ie Robbie Byrne, Sean Mccarron, Storyville is the graduation film of The power of Adrien Merigeau’s Sarah Long, Jennifer Evans, Rhob three former Supinfocom students short film Old Fangs (featured at Cunningham, Paul Young, Ross now living in the UK and operating Sundance 2010) derives from its Costigan, David Thompson, John as the directing collective Mr. Tea. disarming, low key tone slowly Morton, Fabian Erlinghäuser, After gaining real-world experience building to gut-wrenching tension Shem Shortall, Anne Murray, Marie at top London animation studios and resolving with a resignation to Thorhauge, Kairen Waloch, Richie (Nexus, Passion Pictures, Studio pain and despair. Cody, Bridget Cody, Joe Gambl, Neschet Al-Zubaidi, Miriam Fritz aka, The Mill), Florian, Patrick “The main creative challenge was “Our technical challenges came and Marion chose to join Paris to do an 11-minute short with a Toolkit from our will to stick to our first animation powerhouse Mr Hyde. six-minute budget. And we also Photoshop, After Effects, Final Cut ambitions, which needed a lot wanted to have a spontaneous, “The principal artistic challenge of characters and backgrounds. Super 8 looking film, which is hard of Storyville was to keep a good We used camera mapping which with animation because everything balance between the influence of allowed us to texture just in the has to be maniacally prepared. the film noir lighting (more realistic) lighted areas of the backgrounds.” and the influence of the early Schedule: nine months. “The technical challenge was to do cartoons from Ub Iwerks and the everything on paper: animation, For Mr. Tea Fleisher brothers (more graphic). BGs etc. within the time limit we Animation/modeling: Marion A lot of work also went into had (approximately a year). We Lighting/rendering/compositing: researching the music. didn’t have models for animation, Patrick we let the animators draw the Concept design/animation/matte characters their way, to be faster. painting: Florian We also used lots of straight ahead Toolkit animation, and rough clean-up.” 3ds Max, Brazil stash BONUS FILMS: STUDENT FILM MINI-FEST 5

“Les Dangereux” “Greedy Boy” “Bave Circus” “Mass” “Idnternet” “The Forest” “Yonder” Short film 1:28 Short film 4:27 Short film 4:03 Short film 1:38 Audiovisual installation 2:17 Short film 6:07 Short film 3:29

School: School: School: be in a child’s mind, while being School: School: School: School: AnimationMentor Royal Melbourne Institute Supinfocom Valenciennes impressive enough to capture the London College of Köln International Faculty of Graphics Braunschweig University Director/animation: of Technology Directors/animators: viewer’s attention.” Communication School of Design Design of the University of Art of Applied Sciences Daniel Klug Director/animation: Philippe Desfretier Music: Thomas Miquel Director/animation: Director/animation: Directors/animation: Augsburg www.danieltheanimator.com Kim Young Ha Nicolas Dufresne Music record: Hervé Montagne, Jordi Pagès Claus Daniel Herrmann Emilia Forstreuter “The overall shading was a www.flewterminal.webs.com Martin Laugero Thomas Miquel www.fotli.net Roman Jungblut Director/animation: www.emiliaforstreuter.de challenge. Generating light Schedule: four months Sylvain Kauffmann Music mix: Marc Bour, “Production schedule was one www.clausdanielherrmann.de David Scharf “I was mixing 2D and 3D, maps for the skin for the 1080p “The biggest challenge was Thomas Miquel week of brainstorming and www.romanjungblut.de [email protected] computer and handmade, always Music: Muhammad Insan Kamil render took more RAM than my writing the script; for a long time Toolkit different material tests with “This work is intended as an Schedule: five months in pursuit of creating an immersive computer had, so I spent a long we were unsure of the strength Cinema 4D and then two weeks feel to the animation. The colors Toolkit 3ds Max, mental ray, After introduction to, and to ideally Writer/producer/animator/director: time tweaking settings to reduce of the story. It was very difficult for producing renders and linking were inspired by some Russian Photoshop, Flash, After Effects, Effects, Photoshop, Allegorithmic provoke a closer examination of, David Scharf memory consumption while to keep it simple enough to stay them with the sound in After sweet wrappers which I collected GarageBand MaPZone, Xpress Pro, Pro Tools the topic ‘Internet, identity and Character design: André Ljosaj maintaining quality.” as poetic and magical as it would Effects.” a long time ago. To get textures dissolution of boundaries’ without Sound design: Javier Otero, which were a bit rougher, I used Director: Daniel Klug Toolkit being perceived as patronizing.” Cesar Meler, 48 Billion Atoms crayon on paper and scanned Environment artist: Vicki Shively Cinema 4D, After Effects Talent: Neath Champion-Weeks, Toolkit them in.” Additional props: Brett Stuart Cinema 4D, Silo, After Effects Stephen Taylor Music performance: Alexa Sage Sound design: Sam Spreckley Toolkit Music editing: Marc Jackson at Cinema 4D, Photoshop, After Toolkit Moonlab Music Effects Illustrator, After Effects, Sound effects: David Guerrero Cinema 4D, Trapcode, MoGraph Character rigs: AnimationMentor.com Toolkit Maya, After Effects Stay Inspired. Preview the Best of 2009 at www.stashmedia.tv