63 - Stash

stashDVD MAGAZINE 63Stash Media Inc.Editor: Stephen PriceManaging editor: HEATHER GRIEVEAssociate editor: ABBEY KERRAccount manager: APRIL HARVEYBusiness development:Pauline ThompsonAdministration:STEFANIE POLSINELLIPreview/montage editor:HEATHER GRIEVEArt prep:ALAN SWINTONProofing:MARILEE BOITSONPreview opening animation: TANTRUMTechnical guidance: IAN HASKINCover image:ljudbilden & pilotenWWW.STASHMEDIA.TVISSN 1712-5928Stash DVD Magazine is published 12 timesper year by Stash Media Inc. All rightsreserved and contents copyright Stash MediaInc. No part of this booklet nor the StashDVD may be copied without express writtenpermission from the publisher.Subscriptions: www.stashmedia.tvSubmissions: www.stashmedia.tv/submitI have no proof of this but I feel certain 2009 was not actually a completeyear. Possibly – as with breakfast cereal and potato chips – the contents(days in this case) have settled during shipping and the package justappears less than full. But I suspect not.Please email me immediately if you have ideas on why 2010 is suddenlystaring us in the face when last month there were still thousands ofshopping days left on the calendar.Alas, the space/time continuum refuses to take back my defective2009 without a receipt, and so, in the spirit of playing along with thisconspiracy I will indeed wish you and yours the happiest of holidays andmost prosperous of new years from all of us at Stash (even though it willmean oodles of therapy down the line).Want proof of just how widespread and insidious this accelerated-timesubterfuge is? A couple of months ago we found illustrator/designerChris Piascik through the Society6 site and invited him to fill the DVDcase wrap with anything his talented little heart desired. So, the deadlinearrives; what does he submit? A Christmas theme. In the middle ofsummer!Anyway. Not sure why I bother. You’re all probably in on it too.Stephen PriceEditorNew York, Dec. 2009sp@stashmedia.tvContact: Stash Media Inc.35 McCaul Street, 305AToronto, ON M5T 1V7 CanadaCurated in New York. Printed in Canada.

stash 63.01DJ Kerry HeroLowLow “Mouse”Game TVC :40titles 1:55Client: Agency:ActivisionFallonFreestyleDirector:GamesDirector: dom&nicMarcoProduction:PuigProduction:OutsiderFramestoreAnimation/VFX:WarpMPCFilmsAnimation:www.moving-picture.comFramestoreMPC break out their arsenal ofwww.framestore.comproprietary CG tools to createLondon’s and orchestrate Framestore this furry brought CG hero inWarp and 50,000 films director mouse Marco traps. For Puig tohelp instance: visualize To achieve the title the animation tidalfor wave Freestyle of snapping Games’ mouse DJ Hero. traps, Themassive the London project, studio which wrote the a series studiocalls of event-based “part photo-real, simulation part scripts hyperrealto automatically and part nod trigger to game the play,” trapsrequired based on a incoming team of 25 collisions. 3D artistsworking Maya was for used six weeks for animation to complete with76 in-house complex tool HD “Furtility” shots – grooming the finalscene the fur includes and RenderMan 4,800 individual and Tickledancers. for the rendering.Outsider directors dom&nic: “In thefirst part of the spot the mouse hadto feel very naturalistic, instinctiveand cautious as it attempted topass through the traps, while inthe second part the mouse hadto become a super stunt-mouse,jumping spinning and avoidingdeath by the closest margin. Wegave the 3D team a real mouse asa pet to get them inspired and acouple of wooden traps and afterthree months of hard work andcreative collaboration they gave usscreen magic.”The 2D team worked with Nuke onshots rendered at over 8K to allowthe directors optimum control overvirtual 2D camera moves in post.For FallonProducer: Jo CharlesworthCreative: Tony Miller,Gary AndersonDoP: John LynchFor OutsiderEP: John MadsenEditor: Struan ClayFor MPCProducer: Louisa CartwrightVFX supers: Jake Mengers,Stephen Newbold3D VFX: Ashley Bernes, Tim Civil,Kuldip Dail, Ahmed Garraph,For Warp FilmsDirector: Marco PuigProducer: Diarmid ScrimshawEditor: Simon HargoodFor FramestoreVFX super: Diarmid HarrisonMurrayEP: Simon WhalleyDigital producer: Mike WoodsSr producer: Sarah HiddlestoneAnimation leads:Nicklas Andersson, Mike MellorFX lead: Martin AufingerRigging/cloth: James HealyLead modeling: Alexander DoyleAnimation: Alexander Damm,Andrew Silke, Fredrik Lindbom,Santi Colomo, Tomas TjernbergStefan Technical Gerstheimer, direction: Dan Mark Seddon,Harrison, Henry Vanerbeek, Andrea Kozakova, James Healy,Jake Jamie Mengers, Stewart, Jakub Mary Swinnerton, Krompolc,Jorge Michele Montiel Fabbro, Meurer, Mikael Wayne Widegren,Simmons, Oliver Fergusson James Taylor, WilsonAdrian2D Lee, VFX: Paul Kelly Denhard, Bruce, Paul Jones, PolGreg Chanthasartratsarmee, Howe-Davies, Stephen RichardNewbold, Coley, Rhys Fabio Pugh, Zaveti Drago Stefan,Matte-painting: Robert KolbeinsJames Bailey,Adam Composite: Leary, Russell Charlotte Dodgson, TysonTelecine: Adam Rowland Jean-Clement SoretToolkit Sound: Pepper SoundMaya, Nuke, MPC’s PAPI andFurtility, Toolkit Pixar’s RenderMan, Tickle,PFTrack, Maya, Houdini, boujouNuke

stash 63.02Kerry LowLow “Mouse”TVC :40Agency:FallonDirector:dom&nicProduction:OutsiderAnimation/VFX:MPCwww.moving-picture.comMPC break out their arsenal ofproprietary CG tools to createand orchestrate this furry CG heroand 50,000 mouse traps. Forinstance: To achieve the tidalwave of snapping mouse traps,the London studio wrote a seriesof event-based simulation scriptsto automatically trigger the trapsbased on incoming collisions.Maya was used for animation within-house tool “Furtility” groomingthe fur and RenderMan and Ticklefor the rendering.Outsider directors dom&nic: “In thefirst part of the spot the mouse hadto feel very naturalistic, instinctiveand cautious as it attempted topass through the traps, while inthe second part the mouse hadto become a super stunt-mouse,jumping spinning and avoidingdeath by the closest margin. Wegave the 3D team a real mouse asa pet to get them inspired and acouple of wooden traps and afterthree months of hard work andcreative collaboration they gave usscreen magic.”The 2D team worked with Nuke onshots rendered at over 8K to allowthe directors optimum control overvirtual 2D camera moves in post.For FallonProducer: Jo CharlesworthCreative: Tony Miller,Gary AndersonDoP: John LynchFor OutsiderEP: John MadsenEditor: Struan ClayFor MPCProducer: Louisa CartwrightVFX supers: Jake Mengers,Stephen Newbold3D VFX: Ashley Bernes, Tim Civil,Kuldip Dail, Ahmed Garraph,Stefan Gerstheimer, MarkHarrison, Andrea Kozakova,Jake Mengers, Jakub Krompolc,Jorge Montiel Meurer, WayneSimmons, James Wilson2D VFX: Kelly Bruce,Greg Howe-Davies, StephenNewbold, Fabio ZavetiMatte-painting: James Bailey,Adam Leary, Charlotte TysonTelecine: Jean-Clement SoretToolkitMaya, Nuke, MPC’s PAPI andFurtility, Pixar’s RenderMan, Tickle,PFTrack, boujou

stash 63.03Michelin “Evil Gas Pump”TVC :30Agency:TBWA\Chiat\Day, New YorkDirector:PsyopProduction:PsyopAnimation:Psyopwww.psyop.tvThe Michelin man (aka Bibendum)gets an action-packed tune-upfrom the Psyop team headed byCDs Marie Hyon and Marco Spier.The complex thirty-secondadventure produced with TBWA\Chiat\Day New York, is thecenterpiece of a campaign rollingout across 55 countries on TV,in print and online. The U.S.campaign launch also features theofficial Michelin man Facebookpage and a dedicated YouTubechannel.For TBWA\Chiat\Day, New YorkChairman/CCO: Mark FigliuloACD/AD: Anthony DeCarolisACD/copy: Erik FahrenkopfEP media arts: Matt BijarchiDirector of broadcast production:Ozzie SpenningsbySr producer: Jason SouterFor PsyopCDs: Marie Hyon and Marco SpierEP: Lucia GrilloSr producer: Lydia HolnessProducer: Lisa MunozLead designers: Anh Vu,Helen ChoiDesigners: Kitty Lin, Jaye Kim,Ben Chan, Pete Sickbert-BennettLead TD: Tony BarbieriLead CG animator: Pat PorterCG animators: Gooshun Wang,Royce Wesley, Kevin Phelps,Michael Shin, Angelo Collazo,Russ WootonLead lighting TD: Anthony PattiCG lighters: Cody Chen,Szymon Weglarski, Helen Choi,Jeff ChavezCG modelers: Soo Hee Han, TomCushwa, Rie Ito, Tony Jung,Dan FineCG rigging: Goo-shun Wang,Stanley Llin, Jordan BlitFX TD: Miguel SalekFX: Jonah FriedmanLead compositor: Jason ConradtCompositors: Manu Gaulot,Gabriel RegentinEditor: Cass VaniniFor Sound LoungeSound engineer: Philip LoebSound designer: Marshall GruppMusic/composer: HumanToolkitMaya, Photoshop, Illustrator, AfterEffects, ZBrush, Mudbox, ThinkingParticles

stash 63.04TARGET “ART EXPANDS”Branded film :60Agency:CatalystDirectors:Jory HullLimore ShurAnimation/VFX:Eyeballwww.eyeballnyc.comEyeball’s third project for Target’s“Art for All” video installationseries (seen on giant LED screensoutside the Staples Center inLA) finds the NY studio’s founderand CD Limor Shur sculpting theMomix dance troupe into a vibrant,abstracted branding exercise.“Target approached us with Momixin mind and a well-thought-outstoryboard,” said Shur, the sonof a choreographer. “We held aworkshop at the Momix studio, aconverted barn in Connecticut, toshape the storyline for the spot.”The Eyeball team capturedcompositions with digital still andvideo cameras then modified themto fit their shot selections. The finalfootage of the dancers was filmedin 35mm against greenscreen withthe CG origami elements createdin 3ds Max.For TargetGroup creative manager:Connie SoteropulosGroup manager, mediaproduction: Mark BennettProducer: Barth WardFor CatalystDirector of client services:Betsy TreinenCD: Shannon PettiniFor EyeballDirectors: Jory Hull, Limore ShurDP: Joe ArcidiciaonoProducer: Jenn PearlmanChief creative: Limore ShurCreative partner: Hyejin HwangCD: Jory HullEP: Mike SulloProducer: Allison PickardEditor: Tom DownsCG director: Carl MokCG modeling & animation:Anthony Jones, Jin YuAnimaton/composite: Neil Stuber,Johan Wiberg, Mauricio Leon2D Design: David PocullRotoscoping: Ghazia JalalFor MomixArtistic director/choreographer:Moses PendletonAssociate director: Cynthia QuinnAgent/president, CAMI spectrum:Margaret SelbyToolkit3ds Max, After Effects, Final Cut

stash 63.05Vaseline Sheer Infusion:Amazing Moisture(Epic Launch)TVC :60Agency:Bartle Bogle Hegarty,New YorkDirector:Noam MurroProduction:Biscuit FilmworksVFX:Carbon VFXwww.carbonvfx.comBBH NY and director Noam Murrodangle 15 Australian acrobats froma massive human-powered pulleysystem in one of the world’s largeststages then drop them throughacres of pristine punctured fabric.The finished piece is no doubt themost arful and eleagnt moisturizercommercial in the history oftelevision. NY design and VFXstudio Carbon handled the Flamework.Watch Behind the Scenes onthe DVD.For Bartle Bogle Hegarty,New YorkCCO: Kevin RoddyGroup CD: Todd RiddleAD: Maja FernqvistAD/copy: Joakim SaulHOB: Lisa SettenSr producer: Julian KatzFor Biscuit FilmworksDirector: Noam MurroDP: Simon DugganSr EP: Shawn LacyEP: Colleen O’DonnellLine producer: Jay VealFor Carbon VFXLead Flame: Kieran WalshEP: Frank DevlinFor The WhitehouseEditor: Russell IckeFor The Mill NYColorist: Fergus McCallFor AudioEngineAudio engineer: Tom GoldblattMusic: Peer Gynt Suite No.1 –Anitra’s Dance

stash 63.06IBCC “Excuses”TVC :90Agency:Ogilvy, Sao PauloDirector:Rick ThieleProduction:BlackNail PicturesAnimation:BlackNail Pictureswww.blacknail-pictures.comWorking under their BlackNailbanner, London VFX artists RickThiele and Mario Ucci laboredevenings after their day jobs (atThe Mill and MPC respectively)to help Ogilvy, Sao Paulo raiseawareness of breast cancer.Director Rick Thiele: “The brief wasto create a microscopic/scientificview of the excuses women givefor not doing the breast cancerself-exam. Forming from cells,those phrases would then becomean amalgam of excuses and theorigin of the tumor.“A challenging bit was the way thecells would blend in and out oneach other and having to deal withmillions of particles reacting witheach other and pulsing in the manydifferent streams of fluids insidethe body.“It would have been impossibleto finish this film using ourhome machines so the help of acompany was essential. It wasvery hard to find this company butwhen we asked Passion Pictures,it took literally one day for themto set up a project for us in theirserver and give us the keys to thestudio. For this level of supportand confidence we will forever begrateful.”For Ogilvy, Sao PauloADs: Fernando Reis,Guilherme Nobrega (Ruivo!)Copy: Marcelo PadocaHead of art: Denis KakazuCDs: Anselmo Ramos,Fred SaldanhaFor BlackNail PicturesDirector/Editor: Rick ThieleDoP: Mario UcciSound: Dr. DD/Bonde FumeganteToolkitPremiere, XSI, Shake, DigitalFusion, After Effects

stash 63.07Adidas “It’s On Me for We”TVC :45Agency:180 Los AngelesDirector:Patrick MurphyProduction:ElasticVFX:Elastica52www.elastic.tvwww.a52.comWith a strict two-hour window toshoot each athlete, director PatrickMurphy and the Elastic/a52 teamdecided less would be more. “Toallow us to get what we wantedon the compressed schedule, weused only three camera positionsfor the whole shoot. By shootingwith the RED camera in 3K, wewere able to adjust the framingof players in post and therebymake it feel like we’d moved thecamera. The layering of the playerswas done in Flame, along withadding the regulation lines of thebasketball court.”For 180 Los AngelesEx CD: William GelnerCDs Gavin Milner, Grant HollandAD: Erwin FederizoCopy: Tom Hamling, Amir FarhangEx producer/managing partner:Peter ClineSr producer: David EmeryFor ElasticDirector: Patrick MurphyDP: Jeff CronenwethEP: Jennifer Sofio HallLine producer: Annie JohnsonFor Rock Paper ScissorsEditor: Jon HoppEPs: Linda Carlson, Carol LynnWeaverProducer: Mike GobleFor a52VFX super: Patrick MurphyLead Flame: Stefan GaillotPost producer: Sarah HaynesEP: Jennifer Sofio HallFor LIME StudiosMixer: Rohan YoungFor Squeak E CleanProductions, Los Angeles“It’s On Me for We”by Brian WattersToolkitFlame

stash 63.08MTV Europe Music Awards2009Broadcast design x 2Client:MTV/Milan Design StudioDirector:Kay TennemannProduction/animationParasol Islandwww.parasol-island.comHow do you work references tothe 20th anniversary of the fall ofthe Berlin Wall into the graphicsfor a fun and festive music awardsshow? Claudio Weber, at ParasolIsland in Düsseldorf says theirsolution was to use eyecandy“to achieve a metaphoric andabstract approach while makinga statement about freedomand against cultural and ethnicdivision.” Schedule: five months.For Parasol IslandEP: Philip HansenProducers: Viola Habermehl,Melanie WestDirector: Kay Tennemann3D: Kay TennemannCompositing: Kay Tennemann,Denis Reva, Tom MillerMusic and sound: Jonathan WulfesToolkitCinema 4D, Fusion, After Effects

stash 63.09Sony “Macho Que SeRespeta”Broadcast design :60 (montage)Client:Sony EntertainmentTelevision Latin AmericaDirector:Vladimir MihalkovProduction:Totuma communications +designAnimation:Totuma communications +designwww.totuma.netHubert Reinfeld, creative directorat the Totuma studio in HarborIslands, Florida: “Sony decided tosplit their programming betweenfeminine and masculine audiences,assigning them specific days ofthe week. ‘Macho que se respeta’became a franchise fully orientedto their male audience.We never thought the idea ofgraphically representing ‘pissall over the toilet’ was gonna gothrough client approval but onthe contrary, they loved it.” Seenacross 35 countries in LatinAmerica and the Caribbean.Schedule: two months.For Sony EntertainmentTelevision Latin America.Art/CD station: Andrea AyalaSr designer: Juan Pablo ValdiviesoFor Totuma communications +designDirector: Vladimir MihalkovADs: Cristina Briceño,Marcos MedvedovProducer: Pedro GonzálezTD: Manuel PiñaDesign: Andreina Diaz, GlenisDias, Fabiana Daly, NicomedesZuloaga, Marcos MedvedovAnimation: Marcos Medvedov,Glenis Dias, Marcos Andrade,Manuel Piña, Fabiana Daly,Nicomedes ZuloagaToolkitIllustrator, Photoshop, AfterEffects, Maya

stash 63.10Community “CootieCatcher”Title sequence :28Clients:Krasnoff FosterEntertainment /Sony Pictures TelevisionDirectors:Russo BrothersAnimation/VFX:Sarofsky Corp.SpeakEasy FXwww.sarofsky.comwww.speakeasyfx.comLA/CHI designco SarofskyCorp. team up with New Jersy’sSpeakeasyFX to open a new NBCcomedy series.Erin Sarofsky, owner and CD ofSarofsky Corp.: “The brief wassimple: They wanted a main titlethat captured the tone of theshow – irreverent and light. For thisreason we landed on the cootiecatcher as the perfect papercanvas to display the credits,surrounded by doodles unique toeach character.We knew getting signoff onillustrations with enough timeto shoot and edit would beimpossible so we chose to createit in 3D and shot plates of thelibrary.The main goal was to get thetexture of the paper super realistic.We wanted to leave peoplewondering if it was CG or stopmotion.” Schedule: one month.For Krasnoff FosterEntertainment / Sony PicturesTelevisionDirectors: Russo Brothers,Dan HarmonMusic: The 88For Sarofsky Corp.Director/lead artist/lead illustrator:Erin SarofskyCompositor: Matt CrnichDesigner: Gene ParkProducers: Louise Krakower,Rachel SteeleAssistant producer/illustrator:Halley BonomaFor SpeakeasyFXVFX director: Scott StewartVFX super: Andy ZazzeraTD: Eric ThiviergeAnimators: Roman Kobryn,Mike WilsonIllustrator: David Michael FriendSpecial thanks: Jan Carlee,Sean SmithToolkitSoftimage, After Effects,Photoshop

stash 63.11“Misfits”TVC :40Agency:4 CreativeDirector:Neil GorringeProduction:Channel 4VFX:The Millwww.the-mill.comThe Mill in London bring their bigleaguefire power to the launchof “Misfits” a new drama on E4about wayward teens who gainsuperpowers after getting zappedby lightning. Luke Colson, headof The Mill Studio: “Neil Gorringewanted the spot to feel big, boldand epic. On the day of the shootit was overcast which helped butwe had our work cut out as mostscenes required additional 3D iceelements, and all required cloudsand lightning. We wanted to createas much of the ice storm in cameraas possible which involved the useof pressurized ice canons, trainedpigeons and a metal safebeing dropped from acrane onto a car.”For 4 CreativeCreative: Neil GorringeProducer: Jason DelahuntyFor Channel 4Director: Neil GorringeProducer: Jason DelahuntyFor The MillProducer: Luke ColsonTelecine: Seamus O’KaneFlame: Pete RypstraShake/Nuke: Pete Hodsman3D: Suraj OdedraEdit: FCP departmentToolkitSmoke, Final Cut, After Effects,Grade

stash 63.12Playgrounds FestivalTitles 2009Opening titles 2:40Director:Rogier HendriksProduction:RevolverAnimation/VFX:Onesizewww.onesize.comOnesize director Rogier Hendriks:“Playgrounds Festival directorLeon van Rooij asked us ito dothe titles for this year’s fest andof course we said yes becausedoing openings like these are rareopportunities.“With no creative brief andeven less budget, we startedconceptualizing and designinghow we could create somethingimpressive, something new,something with a lot of productionvalue, something we had not donebefore with our team but produceablewithin three weeks.“For the ultra slow motion,shooting with a Phantom camerawould not do the trick for us. Wewanted to have more control overthe slow motion in post-production– still be able to decide cameraangles and motion. To do thiswe used the camera mappingtechnique in 3D. The productionwas made fairly simple comparedto live-action shoots with highspeedcameras shooting onlocation. Our photographer JasperFaber did an outstanding job byusing only two flash setups, acamera and a Macbook.”Watch Behind the Scenes onthe DVD.For Playgrounds FestivalFestival director: Leon van RooijFor OnesizeDirection: Rogier Hendriks3D design/animation: KasperVerweij, Harm van Zon, MennoFokma, Reinier Flaes, HeerkoGroefsema, Remco Janssen2D design/animation: RogierHendriks, Menno FokmaEdit: Rogier HendriksFor Studio TaktSound design: Joris van GrunsvenFor RevolverProducer: Dijana Olcay-HotDoP: Jasper FaberLocation Scout: Hans v/d BergMakeup: Elseline HokkeFighter #1: Jeroen RoosFighter #2: Cesario di DomenicoToolkitCinema 4D, 3ds Max, AfterEffects, Poser

stash 63.13“H2Oil”Documentarysegments 3:19Client:Loaded PicturesDirectors:Dale HaywardSylvie TrouvéAnimation:La Moustachewww.lamoustache.caMontreal-based design studioLa Moustache distills thecomplexities of extracting oilfrom the controversial Albertatar sands project into threedigestible components for thefeature documentary H2oil. SylvieTrouvé, animation director at LaMoustache: “The project wasto explain the process of the tarsands, water’s role in this processand how NAFTA is involved. Thesethemes were requested to bethree individual segments of oneminute that could to be placedanywhere in the film. Animatedsolely in After Effects, the trilogytook La Moustache five months tocomplete.For Loaded Pictures:Writer/director: ShannonWalshProducers: Sergeo Kirby,Sarah SpringFor La MoustacheDirectors: Dale Hayward,Sylvie TrouvéAnimation: Dale Hayward,Sylvie TrouvéIllustration: James BraithwaiteAnimation concept: Dale Hayward,James Braithwaite, Sylvie TrouvéSound design: Daniel LagacéToolkitPhotoshop, After Effects

stash 63.14“Cardboard”Short film 2:29School:AKV St. Joost art academy(Breda, The Netherlands)Director/animation:Sjors Vervoortwww.sjorsvervoort.nlDirector/animator Sjors Vervoortreveals he had a simple goal withhis graduation film: “To show allthe skills I learned during my fouryearanimation course at the artacademy. I considered using CGIin live action, but after some testsI wasn’t satisfied with the result.Inspired by street art, I decided tocreate something touchable. I hadthe idea of cardboard because it isflexible and flat like my characters,and easily affordable.“Cardboard contains approximately1,200 photos, which wheretaken in the streets of Eindhoven,The Netherlands. I wasn’t workingwith storyboards, each shot wasa new piece in the puzzle, andthroughout the production it startedto become more clear whichdirection my film was taking.Unfortunately, since I was limitedwith time, I couldn’t createeverything on the streets. I usedPhotoshop for some of the shotsto speed up the process. I don’tthink it’s important for viewers toknow what is real and what isn’t;Cardboard is a visual experimentand is not based on a technique.”Schedule: six months.Sound FX/music: Steven AertsToolkitStop Motion Pro, Photoshop,Illustrator, Premiere Pro, CannonPowerShot G9, cardboard, paint,markers, pencils, paper

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Here’s your chance to own 30 extraordinary shortfilms by today’s most innovative directors – over twoand-a-halfhours of sheer entertainment from StashDVD Magazine.Stash SHORT FILMS 1 delivers an internationalprogram of festival hits and little-known gems PLUSbehind the scenes extras and a 40-page book of stills,credits, production notes and links for every project.

stash 63.15“Jesus 2000”Short film 1:22Directors:Remi BastieJean-Baptiste CumontClement DesnosJonathan Djob NkondoNicolas PegonProduction:WIZZdesignAnimation:WIZZdesignwww.wizz.frWhen five students from LesGobelins school knocked on thedoor of WIZZdesign this pastsummer eager to create a discoinfusedupdate to the story ofJesus, the Paris studio could notsay no. Co-directors Remi Bastie,Jean-Baptiste Cumont, ClementDesnos, Jonathan Djob Nkondoand Nicolas Pegon workedthrough the month of July underthe guidance of WIZZ directorsGuillame Combes and designerPhilippe Vallette.The less than reverential workcombines classical drawing tabletechniques and digital animation inAfter Effects and Flash.For WIZZdesignProducers: Matthieu Poirier,Guillaume CombesDirectors: Remi Bastie,Jean-Baptiste Cumont, ClementDesnos, Jonathan Djob Nkondo,Nicolas PegonGraphic artists: Remi Bastie,Jean-Baptiste Cumont, ClementDesnos, Jonathan Djob Nkondo,Nicolas PegonSound design: Philippe ValetteMusic: R-Ash aka Riad HammadiToolkitPhotoshop, After Effects, Flash

stash 52.16Ape School “Wail to God”Music video 2:33Record labels:Ninja TuneCounter RecordsDirector:Anthony F. SchepperdProduction:Michael JohnsonAnimation:Anthony F. Schepperdwww.vimeo.com/user2405345Montreal director/animatorAnthony F. Schepperd: “Therewas never really a question aboutwhat the video was going to beabout. Michael and I met once andour ideas fit together perfectly.First thing I did was some quicksketches. I just wanted to get outideas and character designs. Thatwas the easy part.“When I went to do storyboardsI realized I had a lot to get intoa two-and-a-half minute song.I needed to establish twocharacters, their problems, theirrelationship, how they wentabout their revenge and then thebuilding of gigantic towers madeof breasts.“I usually sit down and just do arough animation through the wholeproject. It looks terrible but givesme a better sense of how themovement upholds the overall feelof the video and music.“I knew the color scheme hadto change with the music, so Idecided the first half would becooler and duller, the middleintense and psychedelic, and theend to be warmer tones. I usuallyput down the shadows and thenthe highlights. I’d say the wholeprocess took three and halfmonths, or about 1,260 hours ofwork.”Watch Behind the Scenes onthe DVD.ToolkitFlash, Photoshop, Premiere

stash 52.17Greg Johnson “I GotOpinions”Music video 3:15Client:Greg JohnsonDirector:David WayAnimation:Watermarkhttp://watermarkltd.comWatermark is a collective ofillustrators based in New Zealandand this three-minute opus forlocal singer-songwriter GregJohnson connects work bydirector David Way and sevenother Watermark artists into thecompany’s first music video.Director David Way: “Greg’s solespecification was that he didn’twant to be in the music video.The main creative challengeswould have to be creating a storyand narrative structure that wouldnot only allow the artists to get offcreatively, but also would see theproject completed in the eightweektime frame.“We decided on a processwhereby the beginning and end ofeach narrative were clearly definedand storyboarded, but the core ofthe narrative would be left opento the artists who all approached

stash 63.18“Close Up II”Virals x 2 :43, :30Director:Stefan ViolaProduction:Sabotage-StudioAnimation/VFX:Two Left HandsSabotage-Studiowww.twolefthands.frwww.sabotage-studio.comLorin Horwitz at Sabotage-Studioin Paris: “We were asked to showthe coffin package and how itcould be used with the fingerskateboard.“Everything is handmade. Wecreated a small (15cm high)articulated puppet in silicon andresin with a skeleton – this puppethas very thin fingers, and it washard to armature them.“Once we made the puppet, wewere ready to shoot. We usuallycaptured from two to five secondsa day. Then we had to shoot thehand. This part of the movie is shotwith a normal live-action camera.The two parts of the movie wereintegrated with After Effects.”Schedule: seven weeks.Watch Behind the Scenes onthe DVD.For Close UpDirector: Stefan ViolaFor Sabotage-Studio /Two Left HandsDOP: Stephen BarceloEditing: Grégoire Sivan3D: Clément ChobletCompositing: EmmanuelPicheraudSound: Kouz ProductionToolkitDragon Stop Motion, After Effects,3ds Max

stash 63.19O’Neill Evolution 2010Viral/TVC :50Agency:Basik ProductionsDirector:RuffmercyProduction:Basik ProductionsAnimation:Ruffmercywww.ruffmercy.comLondon director/animator/designerRuss Murphy (aka Ruffmercy):“As the spot was 1920x1080 HDand there was only my computerfor designing, animating andrendering the whole thing, mymain goal was to keep everythingas simple as possible so I couldmaintain the workflow and notbecome unstuck with huge rendertimes and slow RAM previews.“To achieve this I tried to keep thedesigns vector based and onlyuse bitmap images when needed.This also gave me freedom downthe line to alter shots and zoom inmuch tighter if I needed to reworkshots. I also decided to not useany camera depth of field andinstead use a simple center spotplug-in to create the illusion ofdepth. I was also very selectiveabout blurs such as motion orcamera shake. So through tightlymonitoring my files and effectsthroughout the job I managed tokeep everything running smoothlyand rendering the final piece onlytook around two hours.”For O’NeillClient: Bernhard RitzerDirector/editor/animator:RuffmercyAudio: Tom GuestToolkitAfter Effects, Photoshop, Illustrator

stash 63.20Sony Ericsson MH907 “PutYour Ears in Control”Viral 1:36Agency:Top DollarDirector:Kristofer StrömProduction:Blink InkVarelsenAnimation:Kristofer Strömwww.ljudbilden.comSTASH: What was the client brief?Kristofer Ström: “We have thesenew amazing headphones, makean amazing video!”Biggest creative challenge?Finding the right bus. I tested awhole lot of plastic toy buses first,but since I couldn’t find the rightone I built my own in clay. This wasthe best decision during the wholeproject.Technical challenges?Getting the smooth dollyshot andbus turning at the same time. Youcan do magic with a spinningcheese plate and a flexible arm.Watch Behind the Scenes onthe DVD.For Top DollarAD: Tomas MelinderFor Blink InkProducer: Bart YatesFor VarelsenProducer: Nicholas WakehamDirector/animation/clay/characterdesign: Kristofer StrömVFX/compositing/animation:Eric BuchholtzMusic/sound effects:Douglas HolmquistToolkitFlash, After Effects

stash 63.21“Beerenberg”TVC :30Agency:Kitchen ASDirectors:Jamie McCarterJakob ThommessenProduction:Storm Studios ASVFX:Storm Studios ASwww.stormstudios.noOslo VFX studio Storm Studioswrangles photo-real CG wildlife tointroduce a Norwegian outdoor/ski apparel brand. Storm producerAnja Nicolas: “The idea is thatthe clothes are so good for roughweather conditions even arcticanimals want to wear them.“The CG bear was createdas part of a creature pipelinedevelopment project for which wereceived funding from InnovationNorway. But this commercial wascommissioned before the polarbear was completed so initiallywe were uncertain how close wecould get to the bear while stillmaintaining the realism. Once wesaw it was working, we scared/surprised the client with the closeup bear-attack shot.”For Kitchen ASCopy : Thomas AskimAD: Eirik StensrudProducer: Caroline Werring OtnesPA: Suzanne BonnevieFor Storm Studios ASDirectors: Jamie McCarter, JakobThommessenProducer: Anja NicolasVFX super: Jamie McCarterModeling: Martin AnderssonRendering/lighting: Espen NordahlCloth/fur simulation: HenrikKarlssonParticles: Magnus PetterssonAnimation: Stig Saxegaard, NicolaiLockertsen, Martin AnderssonMatte painting: Nicolai LockertsenComp: Samuel KarlssonPMs: Tom Joelsen, Martine StolpDoP: Theodor KristensenCast: Kristofer HivjuSound: Egg & BaconToolkitMaya, RenderMan, Mudbox, Silo,Shave and a Haircut, Houdini

stash 63.22New Balance “Feet onHead”TVC: 30Agency:BBDO, New YorkDirector:Bill BruceProduction:RSAVFX:Method Studioswww.methodstudios.comWith the decision made to keepthe runner’s antler-feet as liveaction and not 3D models,Method’s big challenge was tosmoothly marry these star-crossedbody parts to his forehead. 3DVFX super Dan Seddon: “Not onlydid we have to match the look andthe motion, but also the lightingto an extraordinarily precise level.Everything went according to plan,but nothing was easy.”Using in-house motion controlsoftware, Seddon and Flame artistSimon Scott extracted the originalcamera information and movementfrom the runner footage andapplied it to the control rig usedto shoot the feet. Seddon says toattach the feet without the luxuryof 3D lighting, “We ended up usingcamera mapping and literallypainted each frame to ensure thejoins between the feet and thehead was seamless. That wasreally the only way to fuse thesetwo lighting challenges.”For BBDO, New YorkCCOs: David Lubars, Bill BruceEP: Elise Greiche-PavoneAD: Cesar FinamoriCopy: Avital PinchevskyExec music producer: LorenParkinsDirector: Bill BruceFor RSAPresident: Jules DalyEP: Tracie NorfleetLine producer: David MitchellDOP: Bob GanzFor MethodCD: Alex FrischSr EP: Gabby GourrierProducer: Helen HughesCoordinator: Erica Headley3D super: Dan SeddonLead Flame: Simon ScottFlame: Alan LattariSr CG: James Le BlochCG: Todd Herman, ChristineVerzosa, Hiro Okubo, AdamTamandl, Olivier Dumont, TristianMaduraRoto/paint: Cecile Tecson, PamGonzales, James PastoriousFor NomadEditor: John MurrayFor Company 3Colorists: Stefan Sonnenfeld,Tim MasikFor Sound LoungeMixer: Tom JuraconeFor emoto music:Composer: Ryan ElderSound design: Francois Blaignan

stash 63.23Fiat 500 “New Times”TVC 1:00Agency:Leo Burnett, BrazilDirectors:Cadu MacedoMateus de Paula SantosProduction:The Ebeling GroupAnimation:LoboVetor Zerowww.lobo.cxwww.vetorzero.com.brThe Fiat Cinquecento hits theBrazilian market with a shiny 3Dbang via this :60 spot from Loboand Vetor Zero.Bryan Wilson, associate producerat The Ebeling Group in NY: “Theinitial idea linked a reference tothe car’s original run in the 1960sto the concept of a ‘new age’,employing assorted oriental mysticsymbols. We soon realized theresult of this treatment would betoo old-fashioned and psychedelic,so we opted for a much morecontemporary and forwardthinkingdirection, also allowing forsome comical touches.“Once we decided on a futuristicenvironment, the technicalchallenges multiplied – a lot of newvisual elements were added butwe still had the original productionschedule. Especially tricky werethe hairy creatures working thecar wash.” Schedule: three weeksof planning, seven weeks inproduction.Watch Behind the Scenes onthe DVD.For FiatClient: C. Belini, Lélio Ramos,João Batista Ciaco, Malú Antonio,Ana BrantFor Leo Burnett BrazilEx Cd: Ruy LindenbergCreatives: Ruy Lindenberg,Javier Talavera, Breno Balbino,Fábio NaganoProduction: Iracema NogueiraLima, Celso Groba, FernandaMoura, Camila AquinoFor Lobo/Vetor ZeroDirector: Cadu Macedo,Mateus De Paula SantosEP: Alberto LopesProducer: Loic Lima Dubois,Roberta ReigadoLead composer: Ed CôrtesMusic/sound design: TentáculoToolkitMaya, After Effects

stash 63.24Sing Up “Can’t Get In”TVC :40Agency:AMVDirector:James PriceProduction:Transistor StudiosStrange BeastAnimation:Transistor Studioswww.transistorstudios.comDirector James Price from NYC’sTransistor on his silly and freneticcollage for UK charity SingUp.org. “The agency asked us toimagine a world that was full of thethoughts of a 10-year-old kid sowe knew we would have to createa bunch of characters and objects.Diversity was important; we didn’twant to be locked into one creativelook. We achieved this by workingwith many illustrators with a widerange of styles.“We had three weeks to rig andanimate, so a shot schedule wasimportant; it allowed us to spendmore time on the heroes in thespot. Another priority was to getthe camera moves locked as earlyas possible so we could block outthe scenes.”For AMVProducers: Yvonne Chalkley,Yvonne Clayton, Poppy ManningCopy: Pete DaviesAD: Adam RimmerFor Strange BeastEP: Nicola FinnFor Transistor StudiosEP: Damon MeenaECD: James PriceHoP: Andrea Sertz JewAssistant producer: Corrine LiebeAssociate CD: Aaron BaumleSr AD/lead animator:Jamie RockawayCG super: Marty Geren3D character animators:Jacques Broquard, Ian Wilmouth,Kyle Mohr, Eric Bribiesca,John Kalaigan, Ximena Stahelin,Nigel HendricksonDesigners: James Price,Chris Murray, Jamie RockawayAnimators/compositors: GregChen, Chad Colby, Seth Ricart,Adam Stockett, Matt Hanson3D character rigs: Carlos SandovalStoryboards: Maurice FontenotSound: Sound TreeToolkitAfter Effects, Maya, Cinema 4D,Photoshop, Illustrator

stash 63.25Ramona Falls “I Say Fever”Music video 3:40For Tourist PicturesDirector/animator:Stefan NadelmanToolkitAfter Effects, PhotoshopRecord label:Barsuk RecordsDirector:Stefan NadelmanAnimation/VFX:Tourist Pictureswww.touristpictures.comStefan Nadelman ransacks theDover Collection of royalty-free clipart images to build his nightmarishinterpretation of “I Say Fever” byRamona Falls, the current musicalact of Brent Knopf. Nadelmanpreviously collaborated with Knopfon the video for the Menomenatrack “Evil Bee” (Stash 37).Nadelman assigned everyelement its own lighting propertiesin After Effects to avoid themoire patterns that occur whendetailed engravings are scaledand animated in video, “Whencombined on top of the globallighting scheme and the shadowscast by them, it pushed myprocessors to the limit.”

stash 63.26Land Of Talk “It’s Okay”Music video 5:09Record label:Saddle Creek RecordsDirectors:Davide Di SaroMihai WilsonProduction:The FieldAnimation/VFX:WeWereMonkeyswww.weweremonkeys.comMarcella Moser, producer atWeWereMonkeys in Brooklyn, NY:“We knew from the beginning theproject was going to be a work oflove, and we wanted to create anartwork where the music, visualsand concept would combineseamlessly. We also wanted tochallenge ourselves in terms ofknowledge and artistic skill. Sowe created a concept that wouldpush us into new techniques:We learned how to handcraft acostume, work with live animals,create realistic hand paintedlandscapes, and attach 3D hair toa live actor.“A big challenge was to createa world that was not easilyidentifiable. We carefully chosea few elements that changed amostly realistic environment intosomething surreal, such as theanti-gravity destruction, the shapeof the mountain peaks and thetwin sci-fi planets.“Coming from an animationbackground, we are used toworking in the box, but this videorequired us to get outdoors.Instead of hiring a cameraoperator, we rented a RED ONE fora week. We had to dedicate a fewextra days to learning the cameraand the RED workflow, but in theend it was worth it because it gaveus more time and flexibility.“Our set was the grass runwayof a small airstrip in rural BritishColumbia. We shot the horse andrider at full gallop from the opendoor of a speeding minivan, andwe duct-taped Davide with theRED camera into an ultra-light toget an aerial perspective of theaction.“In post, the shaky ultra-lightfootage turned out to be achallenge. Thanks to theSynthEyes website, we learned toprepare the footage by stabilizingin 3D (not 2D). After that, it waseasy to get a solid track and getthe shot into Cinema 4D so wecould add the 3D elements.”Schedule: 2.5 months.For The FieldEP: Cherie SinclairActress/horse trainer: Ines StoneHorse: DesiTechnical support: Mark RogersFor WeWereMonkeysDirectors/animators/VFX/designers/editors: Davide Di Saro,Mihai WilsonProducer: Marcella MoserDOP: Dominic SchaeferCostume design: Davide Di Saro,Mihai Wilson, Marcella MoserToolkitAfter Effects, Photoshop, Flash,Cinema 4D, Mudbox, Maya,SynthEyes, PFTrack

stash 63.27Ti “Un tour de Manège”Short film 3:40School:Gobelins l’Ecole Del’ImageDirectors/animation:Nicolas AthanéBrice ChevillardAlexis LiddellFrançoise LositoMai NguyenGobelins student and co-director,Alexis Liddell: “The assignmentwas a short film, six-monthschedule, no more than fiveenvironments, three charactersmax. So we found this trick toactually make only one characterset up, and scale the rig andblend/shape the modeling to getour four characters.“Our challenge was to createsomething different from the filmswe can see everywhere and createa 2D atmosphere using the 3D.“The film was made in 3D withMaya (except the abstractsequence between the wolf andthe bird) and we used a lot of tricksto make our 3D look like it couldhave been made with pastels –we also wanted to use color as itcould be in a soft dream andnon-realistic.“Another challenge was towork with five co-directors. It’ssometimes very difficult becauseeveryone has his word to say andeach choice we make has to beapproved by everyone.”Watch Behind the Scenes onthe DVD.Directors/animators:Nicolas Athané, Brice Chevillard,Alexis Liddell, Françoise Losito,Mai NguyenMusic: Pablo PicoSound design: Vincent HazardVoice: Elise RothWith the help of ELUDE/DIGIMAGEToolkitPhotoshop, Maya, After Effects

stash 63.28“Videogioco” - LoopExperimentShort film 1:22Director/animator:Donato Sansonewww.vimeo.com/user2426155Donato Sansone, a director/animator based in Torino, Italy onhis tactile and disarmingly originalfilm called Videogioco: “For themost part this is an improvisedshort. I had no idea of where itwould take me or how long itwould end up being; I was goingby instinct, not knowing whatwould happen in the next scene.“The making of the film is easierthan what you may think. Themain problem was the folding ofthe paper couldn’t be animated.Therefore I threw away a numberof sheets before arriving at theright way to make it function.“I had a clear idea I wanted to dosomething grotesque, noir andamusing. At the same time I wasthinking about the sounds typicalof the laughter of the audienceduring a sitcom, a detail that myfriend and sound expert EnricoAscoli has so magnificentlyinterpreted for me.”Sound: Enrico AscoliToolkitNo software used

stash 63 BONUS FILMS - MAKOTO YABUKI“As One”Short film 2:40Director:Makoto YabukiProduction:TANGRAM co. ltd.Animation:Makoto Yabukiwww.makotoyabuki.comMakoto Yabuki: “The conceptof As One is a connection ofpeople, society that people make,and nature. Each connection isexpressed through 3D visualsand ambient music. Creative andtechnical challenges of the project:The feature in my work is abstractexpression. I tried to make thework as simply as possible byeliminating the waste. As a resultI got the composition in a simplemodel and simple animation.From modeling to animation, Iused Autodesk Maya. I exportedthem with FBX, read to Autodesk3ds Max and did rendering withV-Ray.Music: Takaya MurakamiToolkitMaya, 3ds Max, V-Ray, Photoshop,Illustrator, After Effects“Manakai”Short film 2:30Director:Makoto YabukiProduction:TANGRAM co. ltd.Animation:Makoto Yabukiwww.makotoyabuki.comMakoto Yabuki: “The conceptof the work is subjectivity andobjectivity. Oneself and oneself asseen by others changed throughcommunications was visualized.The moment when the personand the person are related isexpressed. Manakai is part ofa trilogy of CG projects I call‘contrast project’. They expressedthe dilemma of communicationsfrom three views.Because I made the work assimply as possible, the musicbecame very important. Then Iclosely talked with the musicianand always considered thecooperation of the image andthe music.”Music: Kotaro MomoseToolkitMaya, Photoshop, Illustrator,After Effects

“White Box”Short film 4:10Client:Sturdy StyleDirector:Makoto YabukiProduction:TANGRAM co. ltd.Animation:TANGRAM co. ltdwww.tangram.toMakoto Yabuki: “White Box is awork made as the visual identityfor the architecture office SturdyStyle. Their corporate identityis about home creation withoutstereotypes.In the film, the architect faces thewhite box symbolizing a homeand designs harmony betweenlife and the environment. By usingCG, we can see his imaginationgraphically. Finally he creates theideal home with his sincere desire.”For Sturdy StyleGeneral manager:Mitsuteru TsukamotoPR: Yukie AkutsuFor TANGRAM co. ltd.Producer: Masanobu NagakuraProject lead: Takayuki AkachiVisual director: Daisuke ShigiharaDesigner: Yasuhiro KobariTalent: Takanori KaburagiPhotography: Masashi SasakiMusic: Takaya MurakamiToolkit3ds Max, After Effects, Photoshop,Illustrator

Enter code:63OBCSF1at:www.stashmedia.tv/promoto SAVE 25%Here’s your chance to own 30 extraordinary short films bytoday’s most innovative directors – over two-and-a-half hours ofsheer entertainment from Stash DVD Magazine.Stash SHORT FILMS 1 delivers an international program offestival hits and little-known gems PLUS behind the scenesextras and a 40-page book of stills, credits, production notes andlinks for every project.www.stashmedia.tv/SF1