55 - Stash

Establish your horizonYour creative vision knows no limits. Where others end, youcontinue to the next horizon. Your production technologyneedsto keep up with you.New Vegas Pro 8 software delivers the ultimate all-in-one videoand audio production environment for creative visionaries likeyou. Its unique, progressive approach to video production,unrivaled audio control and powerful DVD authoring tools setit apart from other non-linear editors. Having established thebenchmark for speed and ease of use, this new version movesthe bar higher with additional features that offer increasedpower, functionality, and creative potential.Now with ProType Titling Technology, multicamera editing, acomprehensive channel-based audio mixing console, Blu-rayDisc burning, and superior 32-bit fl oat engine processing – inaddition to its robust support for HDV, XDCAM , 5.1 surroundencoding, and 3D compositing – Vegas Pro 8 offers an unlimitedarray of opportunities to reach your production goals.It’s more than audio, more than video, more than media.It’s your vision, a notch above the rest. Reach thatnew horizon with the power of Vegas Pro 8.Learn more atwww.sonycreativesoftware.com/vegashNew Motion+New Sound+New Code09motion graphics festivalwww.MGFest.com/09/Austin/Austin Motion Graphics Festival 2009May 14-17Copyright © 2008. Sony Creative Software Inc. All rights reserved.

Where imaginationand reality converge.Animation inspires games. Effects merge with film. Science conspires with art. Animation technologies drive theentertainment industry, empower independent creatives and inspire new generations to create for ever-expandingvisions.The industry’s top level decision-makers are descending on Stuttgart in greater numbers than ever before. Come soakup the atmosphere, the knowledge and the opportunities. Enhance your perspectives in stereoscopic entertainment, getgame with the world’s most successful makers of interactive content and check in on the latest techniques and milestones.Stay posted and check out our program, now online at www.fmx.de !Unique partnerships with like-minded organizations make for a one-stop trip not just to the conference, but also therenowned Festival of Animated Film and the Animation Production Day, a business meeting on financing animation brands.www. animationproductionday.deFind out more at www.fmx.destashDVD MAGAZINE 55Stash Media Inc.Editor: Stephen PricePublisher: Greg robinsManaging editor: HEATHER GRIEVEAccount managers: APRIL HARVEY,CHRISTINE STEADAssociate editor: ABBEY KERRMusic editor: STEVE MARCHESEProofing editor: MARILEE BOITSONPreview/montage editor:HEATHER GRIEVEPreview opening animation: TANTRUMContributing producer: ERIC ALBATechnical guidance: IAN HASKINCover image: MR. HYDEWWW.STASHMEDIA.TVISSN 1712-5928Legal things: Stash Magazine and Stash DVDare published 12 times per year by StashMedia Inc. All rights reserved and contentscopyright Stash Media Inc. No part of thisbooklet nor the Stash DVD may be copiedwithout express written permission fromthe publisher. Stash Media Inc. does notpromote or endorse products, services orevents advertised by third party advertisers.Submissions: www.stashmedia.tv/submitSubscriptions: www.stashmedia.tvContact: Stash Media Inc.494-1641 Lonsdale Avenue, North Vancouver,BC V7M 2J5 Canada.Curated in New York. Printed in Canada.As New York’s Antarctic winter finally releases its grip and feeling returnsto my extremities, I find myself besieged by strange thoughts of venturingoutside...voluntarily.And those flights of fancy made me think of the real flights of airplaneswhich made me think of...well, Vegas. Not because my gamblingaddiction has resurfaced or because of some dark urge to score aforeclosed bungalow in the desert, but because Stash is making its debutat NAB this year.The Stash crew and I are excited – from April 20-23 we’ll be slinging disksand banging down deals in booth SL4429 then rushing out to Lil’s LiquorBarn before we hit up Andy’s Ammo Ranch and Gun Range to let off a fewrounds and a little steam.If you miss us in Vegas we’ll also be brightening the exhibition floors atBDA June 16-18 in New York and at Siggraph in New Orleans August 4-6.Please drop by. Meet the crew. Pick up a deal or two.Stephen PriceEditorNew York, March 2009sp@stashmedia.tv

stash 55.02Boags “Pure Waters”TVC :60Client:Lion NathanAgency:Publicis MojoDirector:Steve RogersProduction:Revolver FilmsVFX:Fin Design & Effectswww.findesign.com.auJustin Bromley, VFX supervisor/Flame compositor at Fin Designin Sydney: “We were asked tomake sure the visual trickerywas totally seamless and kept insympathy with the overall lowkeytone of the TVC. “Technicallythe most challenging shot wasthe push bike to motorbiketransition. I was planning to usethe water to cover the changefrom push bike to motorbike, butas it turned out the water was alittle underwhelming. I had thesecond unit shoot some watersplashes for me against black,so I knew I could beef up the incamerawater if needed. Once Ihad all my material in the Flamesuite and began compositing, itwas apparent an artificially largesplash was not in keeping with thefeel of the commercial – it lookedlike we were hiding something.The solution was to keep themotorcycle splash throughout andnot use the push bike splash at all.“I then slowly transitioned thebike and rider piece by piece,staggering the effect over theduration of the shot. The ridershead, arms, and bike were allrotoscoped out separately so Icould morph and offset each littlebit, and trick the eye into not reallyseeing it.” Schedule: eight days inFlame, two days of Combustion.For Publicis MojoCD: Micah WalkerCreatives: Grant McAloon, SteveWakelamFor Revolver FilmDirector: Steve RogersEP: Michael RitchieProducer: Georgina WillsonFor Fin Design + EffectsEP: Emma DainesProducer: Billy BecketLead Flame: Justin BromleyFlame: Christophe Allender3D:Tom Corbett2D: Maxence PeillionToolkitFlame, Combustionstash 55.03Audi Quattro“Urban Carving”TVC :45Agency:Kempertrautmann,HamburgDirector:Daniel KleinmanProduction:MarkenfilmRattling StickVFX:Framestorewww.framestore.comMichael Stanish, FramestoreVFX producer: “The brief wasto create a totally believable filmof a downhill skier carving hisway through the streets of SanFrancisco to reflect the all-wheeldrive technology of the new AudiQuattro.“Our first challenge was choosingan overall approach that wouldproduce the most convincinglook. The final solution was toshoot everything on location witha skilled rollerblader. The bladeswere later removed and replacedwith CG skis and spray. Fast cutediting and a handheld feel to thecamera work meant we had over50 FX shots in a 60-second film,a considerable amount of difficultcamera and body tracking andplenty of work for the compositors.This along with the tight schedulemeant we really needed a quickand easily repeatable pipeline forthe FX work.“Creatively, one of the hardestchallenges was settling on the lookfor the debris and spray from theskier. It was really important to theclient we retain the feeling of snowspray, whilst at the same timecreating an effect that felt realisticfor street skiing. With no realreference to go on we just had todive in and start developing somedifferent looks to find out whatwould work best for everybody.”Boujou and 3D Equalizer wereused for camera tracking, Mayafor body tracking and modeling,Houdini for the VFX animation,Houdini’s Mantra for rendering,Flame for compositing. Schedule:three-day location shoot; originalfive-week post schedule extendedto seven.For KempertrautmannCDs: Frank Bannöhr, WillyKaussen, Jens Theil, Gerrit ZinkeAD: Frank BannöhrCopy: Willy KaussenLine producer: Jannik EndemannFor MarkenfilmProducer: Simona DanielDirector: Daniel KleinmanFor Rattling StickProducer: Johnnie FrankelDP: Paul CameronEditor: Adam SpiveyFor FramestoreVFX super: William BartlettCG lead: Diarmid Harrison-MurrayTDs: Michele Fabbro,Pol Chanthasartratsarmee,Scott Eaton, Jabed Khan,Tracking: Melvyn Polayah,Jabed Khan,Telecine colorist: Steffan PerryProducer: Michael StanishSound: Audioforce, BerlinToolkitMaya, Houdini, Houdini’s Mantra,boujou, 3D Equalizer

stash 55.04STEPP “Dragons”, “Ravens”TVC’s x 2 :30Client:Colorado Departmentof Public Health andEnvironmentAgency:CACTUSDirector:BuckAnimation:Buckwww.buck.tvWorking with recent NationalCancer Institute data showingpublic health education ads withstrong negative messages elicithigher response rates, Buck andDenver agency Cactus illustratethe dangers of secondhandsmoke with a pair of nightmarishmetaphors. Ryan Honey, CD atBuck: “The chief challenge wasnavigating the uncanny dividebetween style and realism. Wecreated both spots entirely in 3Dbut we wanted them to have apalpable, realistic foreboding. Weended up creating our own smokeand particle effects to imbue bothspots with a sense of impending,insidious evil.”For CACTUSStrategic director: Joe ConradCD: Norm ShearerACDs: Jeff Strahl, Brian WatsonCopy: Jim MorrisseyProducer: Danielle BryanFor BuckCD: Ryan HoneyEP: Maurie EnochsonProducer: Jason Cohon,Nick TerzichAssociate producer: Eric BadrosAssociate CD: Jeremy SahlmanVFX super: Doug WilkinsonAD: Bradley MunkowitzAnimation: Matt Everton,Frantz VidalFX TD: Gene Arvan, Dave RindnerArtists: Randa Mohtady, HenryFoster, Frances Yeh, Ivan Sokol,Doug Appleton, Sebastian NozonLead 3D: Jens Lindgren3D: John Niehuss, RandaMohtady, Thomas Madreiter, MikeColarik, Kyle Raffile, Csaba Letay,Ivan SokolLead compositors: MosesJourney, Patrick Scruggs2D: Ian Kim, James Rydesky,Jon Gorman, Joe MullenEditor: Aristides ZamoraAudio: Cypher AudioToolkitMaya, After EffectsFor G-NetEPs: David Getson, David Moodie,John RosenbergCDs: David MoodieWriter: David MoodieOriginal score: Garry SchymanSound: Paul Gorman,David SwensonAdditional titles: Devan SimunovichProduction super: Shelby HillMedia editor: Alik GriffinFor Psyop, New YorkCD: Eben MearsEP: Lucia GrilloProducer: Carol CollinsDesign director: Jon SaundersDesigner: Anh VuStoryboard: Ben Chan3D look/development: Marco IozziMatte painter:Pete Sickbert-BennettTechnical directors: Tony Barbieri,Damon Ciarelli, Miguel A. Salek(FX), Lee Wolland (character &rigging)3D: Helen Choi, Tom Cushwa,Pete Devlin, Rei Ito, Kitty Lin,Consuelo Macri, Rich Magan, PatPorter, Heiko Schneck,Miles Southan, Gooshun Wang,Russ WootonCompositing: Molly Schwartz,Jason Conradt, Fred KimToolkitMaya, 3ds Max, Houdini,After Effectsstash 55.05“Dante’s Inferno”TVC :30Client:Electronic ArtsAgency:G-NetDirector:PsyopAnimation:Psyopwww.psyop.tvIn a sudden turn to the dark side,the Psyop crew summon theirinner demons and descend intothe deepest circles of Hell for therelease of “Dante’s Inferno” fromElectronic Arts. Working fromthe dark and intricate illustrationsof Wayne Barlowe as referenceand dialing up their Dungeons& Dragons geek-dom, the 3Dteam wanted to cram in asmuch macabre monster actionas possible. The result is one ofPsyop’s most dense CG projectsto date. From design to deliverythe :30 spot took three monthsto complete with the bulk ofanimation created in Maya andparticle simulation in 3ds Max andHoudini, with final comps in AfterEffects.

stash 55.06stash 55.07Beate Uhse “Child Lock”TVC :50Agency:kempertrautmannDirectors:Martin Hess, Ole PetersProduction:SEHSUCHT GmbHAnimation:SEHSUCHT GmbHwww.sehsucht.deGerman erotic TV channel BeateUhse introduces their child lockfeature with some delicate helpfrom Hamburg’s Sehsucht. CodirectorOle Peters: “It was veryimportant for the agency and theclient that the final commercialbe unmistakably addressed toadults – and as erotic as possible.It was pretty tough to find the right,matching images for the morphingsequence – and very funny. Wehad to find out how far we couldpush the boundaries regarding theerotic issues and especially theexplicit genital shots – even thoughit is a European project, I promiseyou there are limits.“The transition between theimages, its duration, and to find theperfect frame to start, was a verychallenging process. The eroticpicture must be recognizable justfor a very short moment – ideallyhardly recognizable – and just foradults. It should disappear whilethe adult audience already seemsto recognize the next, innocentillustration – so it is a seamless,flowing transition.“During the beginning we all triedto use the politically right termsfor the genitals. It all felt absurdafter a few days of work. We didn’twant to be rough or perverted butwe couldn’t continue with theseclinical expressions and started todevelop our very own expressionsand synonyms for the penis andthe vagina. It helped during thelong hours.”Agency: kempertrautmannCD: Mathias LamkenAD: Mathias Lamken,Simon Jasper PhilippKundenberatung: Biljana Retzlik,Jacqueline KochDesign: Mathias LamkenFor SEHSUCHT GmbHDirectors: Martin Hess, Ole PetersDesign: Sehsucht, Martin Hess,Ole PetersIllustrator: Christian Endres,Mathias Lamken, Marita Löcmele,Simon Jasper Philipp3D: Heinrich LöweCompositing: Martin Hess,Hans-Christoph SchultheißProducer: Stephan ReinschRecord company/music/sounddesign: Thomas KisserToolkitPaper, ink, After Effects,Cinema 4D, Illustrator, PhotoshopNascar On Fox“Underground”TVC :60Agency:Fox Sports DesignDirectors:Robert Gottlieb,MARK SIMMONS,Animation:La Huellawww.lahuellafx.comMadrid VFX house La Huellapolishes the transparent floorconcept they had explored in aMetro de Madrid spot to gleamingnew levels for Fox’s NASCARcoverage. According to thestudio: “Although the main ideahas a lot in common, ‘Metro’ wasall about slowly contemplatingexisting places in Madrid, whilethe focus in ‘Nascar’ was creatinga whole new racetrack packedwith details, including 30 speedingcars, parking lot with barbecues,grandstands full of screamingpeople – thirty-three HD shots intotal.“First, we created a storyboardthat allowed the Fox Sports Designteam to create a 2D animatic. Thatgave us a base for the shot list andan approximate duration for each.We then used basic 3D modelsto block animation and cameraangles/moves, progressivelyrefining the editing on the Fox sideand the 3D layout on our side – bythe shoot we had an approvedanimatic.“From the beginning we knew themain problem would be giving asense of weight to the cars withouta visible ground. To soften theeffect of ‘flying cars’ we spent along time finding the right balancebetween giving the transparenttrack some texture to help with asense of speed without dirtyingthe picture too much. Then weadded layers of smoke and rubberbits flying over the ground to addmore depth.“We also created a complex rig forthe car suspensions involving rigidbody simulations fine-tuned bykeyframe animation.”Watch Behind the Scenes onthe DVD.For Fox Sports DesignEVP marketing: Eric MarkgrafSVP/CD: Robert GottliebCD: Mark SimmonsLive action director:Mark SimmonsVP on-air promotions: Bill BattinEditor: Kirk SmithFlame: Kevin PrendivilleSound design: Mic Brooling,Jim MitchellFor La Huella3D/2D supers: Jérôme Debève,Juan Antonio Ruiz3D: Antonio Lado, David Gonzalez,Gerardo Arpide, Miquel AngelCorominas, Vanesa Iglesias,Martin Contel, Cesar Eiji2D/post: Régis Barbey, ThiagoDantas, Ricardo GomezStory/textures: Santiago Verdugo,David Escribano, Paco RodriguezProduction/administration:Marga Obrador, Paloma FuentesMusic: “World Domination” by AshToolkitXSI, 3ds Max, Flame, Combustion,Shake, Apple Color

stash 55.08Nickleodeon UK“Fantasy Rebrand”Broadcast designDirector:Akin AkinsikuAnimation/VFX:Mainframewww.mainframe.co.ukAfter 18 months designing anddeveloping an extensive rebrandfor Nickelodeon, London’sMainframe finally saw their effortsgo to air in the UK in early March2009 followed by the internationalrollout. The brief was to unifyreality and fantasy by blendinglive action and 3D as a way ofreinterpreting real situations in achild’s imagination.Once scenery and camera moveswere constructed and built into thescenes, the animation was takento Clapham Road Studios wheretwo days were spent shootingmotion controlled live action.Adam Jenns, Mainframe producer:“Difference keys were used for thebulk of the work, but on trickiershots motion control allowedfilming both with and withoutactors and so greatly eased theprocess of rotoscoping. Themotion control camera data wasalso used to generate accuratesetups by importing it into Maya.After matching the mo-co andanimation camera moves, theremaining animation could befinessed before the live-actionfootage was integrated alongsidebedding-in passes like shadowsand reflections. Much time wasinvested in creating cartoon-likeshading to keep the animation inline with the original illustrationwork by Will Barras.”For Nickleodeon UKCD: Peter DrakeDirector: Akin AkinsikuAD: Akin AkinsikuFor MainframeProducer: Adam JennsAnimation: Marcus Moresby,Carl Fairweather, Arvid Nicklasson,Jimmy Johansson,Mickael Abensur, JeroneDernoncourt, Call AllmanFor Blue Post ProductionAudio: Ian ChathamMusic: Blasé MusicToolkitMaya, After Effectsstash 55.09On Route “Kites”,“Windmills”, “Lanterns”Broadcast design X 3 :20Directors:Rob Machin, Ben MarshallProduction:E&PAnimation/VFX:Golden Squarewww.goldensq.comPairing up with Golden Square’s3D artist Sean Elliot, Londondesign house E&P (formerlyEnglish & Pocket) created thesecalming IDs for Thai transportationchannel On Route to soothepassengers traveling through thenotoriously frustrating traffic jamsof Bangkok. Created in Maya withthe final look embellished in Flame.For E&PDesigner: Ben MarshallProducer: Rob MachinFor Golden SquareProducer: Gil James3D: Sean ElliottFlame: Fasa OyiboFor Golden Square3D artist: Sean ElliotToolkitMaya, Flame

stash 55.10stash 55.11AXN Film Festival 2008Broadcast designFITC AmsterdamEvent trailer :60Client:Spe Networks LatinAmericaDirectors:Marcos Torres,Ezequiel RormoserAnimation:Superestudio.tvwww.superestudio.tvMartina Reboledo at Superestudioin Buenos Aires on the company’sbranding campaign for the AXNFilm Festival: “We wanted to createa ‘magic’ machine to showcasethe cinematography productionprocess as an imaginary visionthat transforms objects relatedto movies into films themselves.The biggest challenge was to talkabout cinema without falling downin the typical places and develop agraphics package that was easilyadaptable by the client and theireditors in different countries andlanguages.”For AXN Latin AmericaAD: Sergio MorenoFor Superestudio.TvDirectors: Marcos Torres,Ezequiel RormoserEP: Mariano De MendoncaProducer: Mariano De MendoncaProd coordinator: Valeria GigliAD: Sergio Moreno3D modeling/animators:Mauro Petrelli, Sebastián Gutnisky,Pablo Molina, Cristian Fieiras,Leandro Giorni, Christian Rey Willis2D: Juan Pablo Christman,Lionel OrellanoCompositing: Iván Asnicar,Sebastián Gutnisky, DiseñoGráfico, Santiago Lesende,Lionel OrellanoIllustration: Mariano CastelliWeb design: Mauro LarssonGeneral assistant:Martina ReboledoFor TOC TOC studioSound/music design:Juan Cruz Recalde.ToolkitAfter Effects, 3ds Max, Illustrator,Final Cut, PhotoshopDirector:SzannProduction:ADDIKTAnimation:ADDIKTwww.addikt.nlAmsterdam studio Addikt on theirtrailer for the 2009 FITC eventin their hometown: “The briefwas to use some elements fromthe print artwork but work it anyway you like. Our pick: bike, cowand whore. As FITC is a mixerfor technical and creative minds,we chose to mix the elementsup to make new and wonderfulexperiments in what goes where.Carefully avoiding the touristtrap of tulips and windmills,capturing the underground feelof Amsterdam. Musical themefeatures layers of cow moos,church bells and traditional organgrinders.”For AddiktConcept: Szann,Bernie van VlijmenLead 3D: Jurriaan HosModeling: Koen van Ovoorde3D: Stan SmuldersEdit: SzannTypography: Bernie van VlijmenCompositing: SzannMusic: Davy MaengkomToolkit:XSI, After Effects

stash 55.12stash 55.13Röyksopp “Happy Up Here”Music video 2:41Record label:EMI FranceDirector:Reuben SutherlandProduction:JoyriderVFX:Joyriderwww.joyriderfilms.comReuben Sutherland makes hisfourth appearance in Stash withthis fusion of all things close tothe heart of any child of the 1980s– Space Invaders, Transformers,Ghostbusters. The video meldsa flow of background live actioncityscapes with a torrent ofrealistic CG elements. “Happy UpHere” is the first official promofor the upcoming release ofRöyksopp’s third studio albumtitled Junior.For EMI FranceCommissioner: John MouleFor JoyriderDirector: Reuben SutherlandProducer: Spencer FriendDOP: Reuben SutherlandEditor: Reuben SutherlandToolkitAfter Effects, Photoshop, PremiereBloc Party“One Month Off”Music video 3:43Record label:WitchitaDirector:D.A.D.D.Y.Production:Red Jam ProductionsAnimation/VFX:D.A.D.D.Y.www.teamdaddy.comWhen the band members of BlocParty proved to be unavailable toshoot their “One Month Off” video,Dublin’s D.A.D.D.Y. turned to thelegendary grandaddy of stopmotion to solve their productiondilemma. “We are big fans ofmaster animator Ray Harryhausen,and a while back found a seriesof fairy tales he animated in the1940s using film stock he acquiredcheaply from the American Armyafter the war. The themes of thissong – the loss of somethingsimple, perhaps a sense ofinnocence within a relationship– strangely brought these backto mind. We acquired a numberof the films then re-edited andanimated over them adding some‘reality’, so they lost that innocentfeeling and meaning they oncehad. We have no idea what Mr.Harryhausen will think if he seesit, but some of the new cartoonviolence makes parts of the videodarkly funny, which he might like.”Using Premiere to edit and 3dsMax and After Effects to animateand composite, the video waswrapped in just under twosleepless weeks.For WitchitaCommissioner: Jill KaplanToolkitPremiere, 3ds Max, After Effects

stash 55.21stash 55.22Alzheimer Internacional“Minds”TVC/viral :30CitroënTVC :42Client:Fundación PasqualMaragallAgency:Externa ComunicaciónDirector:Nico CasavecchiaProduction:boolabAnimation:boolabwww.boolab.tvA spot run on Spanish televisionto raise awareness and funding forAlzheimer’s. Boolab director NicoCasavecchia: “Rory Lambert, theExterna creative director, broughtus the idea of a brain scannershowing activity in sync with asoundtrack and slowly fading toillustrate the sickness.“I suggested an abstractrepresentation of the humanmemories. I wanted to avoid amelodramatic approach and yetconnect emotionally with theaudience, so I kept the idea of anemotional soundtrack. These twolayers of perception, the abstractbubbles dancing ethereally andthe emotional sounds combineddo the trick of expressing humanexperience and hit the dramatictarget without being demagogic.“The main technical challenge wasthe reactive system; I wanted touse as little keyframe animationas possible. I did the initialresearch myself with Cinema4D, with particle systems andgeometry connected to an audioinput. Jaime Ramos crafted thefinal reactive system in Maya, acombination of cloth simulationand particles.” Schedule: 30 daysfrom briefing to delivery.For Externa ComunicaciónCD: Rory LambertStrategy: Angela BardajiFor boolabDirector: Nico CasavecchiaEP: Coke FerreiroCreative super: Lucas ElliotProducer: Diana AsenjoPost director: Joan Janer3D: Jaime RamosMusic and sound effects:Alex CandelaVoiceovers: Pasqual Maragall,Luis Mediavilla, Robert PatersonSound design: Idea SonoraToolkitCinema 4D, Maya, After EffectsWatch Behind the Scenes onthe DVDAgency:HDirector:Jeremy ClapinAnimation:Mr. Hydewww.mrhyde.frWorking from a completedvoiceover and a simple agencysuppliedanimatic of a constantlyfolding page, it was up to Mr. Hydedirector Jeremy Clapin to fill in themany narrative and stylistic holesin this CG commercial launchingthe new Citroën logo and updatedtagline “Créative Technologie”.Deciding on simplified, un-texturedgraphic elements and restrictingthe palette to Citroën’s signaturered, black and white, Clapin foundthe most challenging part of theproduction involved “properlymixing a graphic universe madeof symbols with realistic visualeffects”. Schedule: three weeks.For HCD/copy: Gilbert ScherAD: Didier RicharthTV producers : Agathe Naffah,Ingrid VasseurFor Mr. HydeProducer: Hervé LopezDirector: Jeremy ClapinSound: PSToolkit3ds Max

stash 55.23stash 55.24Lexus RX 2009 “Hybrid”,“VDIM”Virals x 2 :30Agency:Team OneDirector:Alexei TylevichAnimation:LoganMørk&Lyswww.logan.tvwww.morkandlys.comTwo of eight full-CG online carspots completed in just threemonths by director Alexei Tylevichand his team at Logan. Tylevichadmits the biggest challenge“was to achieve a perfect balancebetween the slightly stylizedenvironments, the photo-real car,and the graphic highlights of thecars’ various features”. To helpsolve the work overload, “Theenvironments are reduced andessential in their design, providinga hyper-real setting.”For Team OneCCO: Chris GravesGroup CDs: Gavin Lester,Jon PearceCD: Troy KopperAD: Serge MachialCopy: Andrew SmartProducer: Leah BohlEP: Jennifer WeinbergFor LoganDirector: Alexei TylevichProducer: Frederic LiebertEP: Kevin ShapiroDesign: Kenneth Robin,Alexei TylevichLead compositors:Vincent Wauters, Benoit Vincent,Julien Forest, Julien BramiLead compositor/TD:Stephan KosinskiCompositor/modeler:Brinton JaecksCompositor: Brendan SmithAnimators: Sei Sato, Cody Smith,Yvain GnarboModeler/texturer: Terry WangModeler: Norris HoukTexturer/shader:Rumiko YokoyamaParticle animator: Matt Rotman2D: Kevin Stein, James WangProduction coordinator:Cedric WilliamsFor Mørk&LysEditor: Volkert BesselingFlame: Brandon SandersFor HUMComposer: Alex KempToolkitMaya, Nuke, FlameNASCAR Nationwide“PRESSURE”TVC :30Agency:The Martin AgencyDirector:SuperfadAnimation/VFX:Superfadwww.superfad.comFollowing on their groundbreakingWinter X Games collaborations(Stash 35 and 53), The MartinAgency and Superfad moveNASCAR into dramatic stylizedterritory while carefully maintainingauthenticity – knowing fans wouldnot respond if the spot strayedtoo far from the truth of thesport. Superfad AD Will Johnson:“NASCAR is so colorful, so it wasinteresting to do away with hueand focus on the elements andline.”For The Martin AgencyCD: Cliff SorahCopy: Mark BillowsAD: Randall HookerBroadcast EP: John McAdoreyAssistant producer:Samantha WoolardFor SuperfadEP: Rob Sanborn, Kevin BattenSr producer: Chris VolckmannProducer: Danielle HazanCD: Will HydeADs: David Viau, Eric Edwards,Will JohnsonDesigner/animator:William CampbellVFX super: Dade OrgeronTD: Yates HolleyAnimators/compositors:Justin Pae, Paulo Diaz, DavidHolm, Jance Allen, Sandy Chang3D: Tom Oakerson, Bryan Cox,Tim Kadowaki, Ian Mankowski,David ClaytonSimulations: Phiphat PinyosophonEditor: Josh BodnarCompositor: Miles Kinghorn,Shawn Berry, Don KimToolkitMaya, After Effects

stash 55.25T. Rowe Price “Ink”TVC :30Agency:JWT New YorkDirector:PsyopProduction:PsyopAnimation:Psyopwww.psyop.tvFormer Psyop CD Mate Steinforth:“Starting out with an exhaustivedesign process, we narroweddown the style to the perfectbalance between illustration andphoto-real shading. The colorpalette starts in a desaturatedblue-green, which emphasizesthe inky feeling, then throughoutthe journey, the color getsprogressively warmer until we endon a sun-flooded scene. The mostchallenging aspect was to findthe right balance in the graphicalstyle and to make sure the paceflowed nicely from one scene tothe next. It was crucial to planout the camera moves carefullybecause the connections betweenthe elements play a big role. Weused Softimage XSI for all the 3Dand went to After Effects to bringeverything together and refine theelements. A lot of the magic hasbeen done in compositing, endingwith the final color correction.”For JWT New YorkCo-president/CCO: Ty MontagueEx CD: Andrew ClarkeCDs: Izzy Levine, Nate GoodsonAD: Orit Ben-ShitritCopy: Giovanni MalettiEP: Caroline ColemanMusic producer:Theresa NotartomasoFor PsyopCD: Mate SteinforthECD: Marie HyonEP: Lucia GrilloProducer: Eve StrickmanDesign: Mate SteinforthTDs: Jake Slutsky, Dave BarosinCGI: Jonah Friedman, Andy Hara,Boris Ustev, Tom Cushwa,Soo Hee Han, Rie Ito, Lee Wolland,Jae Ham, Jimmy GassCompositing: Colin Hess,Manu Galot, Jason Conradt,Yussef Cole, Matt HansonMusic/sound design:Q DepartmentMix: Sound LoungeToolkitXSI, After Effectsstash 55.26Nike “Jump Rope”,“Punching Bag”, “Meteor”Virals X 3 :30Agency:AKQADirector:Rohitash RaoProduction:Curious PicturesAnimation:Curious PicturesHumouring the FatesZoink Animationwww.curiouspictures.comwww.fates.comwww.zoinkanimation.seThree in a series of virals runningon Nike Women websitesthroughout the Asia Pacific. MaryKnox, EP at Curious Pictures inNY: “The biggest challenge wasto make each film different fromthe others while maintaining aconsistent look and feel. Theathletes needed to look likesuperheroes, yet still be feminineand beautiful. We wanted tocapture a sense of the heroichere—like how they feel whenthey’re working out. So therewas lots of experimentation withdifferent approaches, lots ofmood boards and tests. I waseven shooting tests in my hotelroom while we were on the shoot.Getting the look just right for eachfilm was a painstaking process.Each frame in each spot, from thelive action to the transformationsto the animation and then backto live action, was carefullychoreographed and planned out.”For AKQACD: Neil RobinsonACD: Stephen ClementsCopy: Ellen KarasAD: Jimmy Soat, Rohitash RaoHOP: Nancy CardilloProject manager: Rakhee GuptaFor Curious PicturesDirector: Rohitash RaoAD: Rohitash RaoLive action DP: Jeff BendittiLive action producer:Shannon LordsPost super: Paul SchneiderEP: Mary KnoxHOP: John ClineFor Zoink AnimationLead animator: Klaus LyngeledFor Humouring The FatesLead animator: Jesse NortonFor Cake EditorialEditor: Bob MoriToolkitAfter Effects, Maya

stash 55.27 stash 55.28Mirta MulticolorSelf promotion/music video :38“Gary”Short film 7:10Director:BlirpProduction:BlirpAnimation:Blirpwww.blirpstudio.tvBlirp is an Argentina-based designand animation studio kicking outa broad range of exuberant andcolorful work. Creative directorAndres De Mula says this in-houseclip – screened at the New Yorkand Mar Del Plata Pictoplasmaevents in 2008 – “began fromthe music. Then a characterwas designed: a strange onewith agile movements. Once allthe animations were separatelycompleted, the material wasedited rhythmically to the song.The visuals were created with acombination of 3ds Max, AfterEffects, and Premiere. The audiowas created and edited usingReason and Cubase SX.”For BlirpCD: Andres De MulaToolkit3ds Max, After Effects, PremiereDirectors:Clément Soulmagnon,Yann Benedi,Sebastien Eballard,Quentin ChailletProduction:SupinfocomAnimation:Clément Soulmagnon,Yann Benedi,Sebastien Eballard,Quentin ChailletGary-lefilm.comwww.monsieurshine.blogspot.comOver the final six months oftheir education at Supinfocomin Valenciennes, France, fouranimation students wanted totell the simple story of a youngboy in love with an older girl and,like most coming of age tales, ithas more to do with Father Freudthan Mother Goose. Co-directorClément Soulmagnon: “The film isa metaphor of adolescence, thefirst strong feelings, the first physicdesire. The most challengingaspect of the production wasto find a creative angle that wasoriginal and ‘acceptable’ withoutrendering the story too infantileand ensure the film was poeticwithout being ‘too sweet’.” Thedirectors’ choice to render the 3Danimation with a 2D look was “toensure this graphic style was nottoo cold or lacked spontaneity.”Animation: Clément Soulmagnon,Yann Benedi, Sebastien Eballard,Quentin ChailletMusic: Guillaume PoyetMixer: Lionel AkchouchTrumpeter: Florent CardonFor Digital TouchSound design: Steve Mahie,Benjamin MechaliToolkitMaya, Photoshop, Fusion

stash 55 BONUS FILMSPSST!3COLLECTION ONE(FILMS 1-6 OF 17)The first six of 17 brand new filmsfrom the latest version of BranDougherty-Johnson’s adventure incollaborative motion art.PSST!3 counts over 175participants from every corner ofthe planet including New York, LosAngeles, Portland, Seattle, Atlanta,Nashville, London, Glasgow, Paris,Vilnius, Amsterdam, Berlin, Dublin,and Copenhagen.Taking the inspiration for itsprocess from the Surrealisttechnique of Exquisite Corpse andthe children’s game of Telephone,the films are each made in threeparts, with different teams workingconsecutively on the beginning,middle and end.Canvas DisquietudeVestigeShort film 2:45Directors: Joost Korngold,Florian Witzel, Anh Vu andKim Dulaney, Brian Gossett,David Lewandowski, Tom KohChocolate HypnosisRegretShort film 2:32Directors: Matt Tragesser,Radical Friend, Jonathan CannonAlter Ego Dark DestinyThe EndShort film 3:08Directors: Takeo Hatai, Bryan Lee,Thomas SchmidLoaders EarvadersMorituri te SalutantShort film 3:20Directors: Joey Garfield, JoelTrussell, Niko StumpoScarlatta Le Voyage BotoShort film 3:22Directors: Brien Holman andJayson Whitmore, Brien Sensebe,Felipe Posada, Tatiana ArochaWords Lucid King of EmptyShort film 5:03Directors: Nessim Higson,John Saunders, Josh Harvey,Helen Hyung Choi, Tony BarbieriStash is pleased to present all 17of the PSST!3 films spread overthree issues.