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stash <strong>63</strong>.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 <strong>63</strong>.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
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63 - Stash

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