• MPC_Sunny and Steve Easter animation | STASH MAGAZINE

    Happy Easter from Steve, Sunny and MPC

    The MPC NY crew flex their character design, animation and slapstick narrative muscles with an Easter confection written and directed in-house by Bill Dorais and Ty Coyle. “Enjoy the Sweets” blends traditional stop-motion techniques and CG into 3,000 frames of sweet-toothy feel-goodness. Lead animator Grae Revell: [Read more]

Take The Poo To The Loo

According to UNICEF, every day in India, “620 million Indians are defecating in the open. That’s half the population dumping over 65 million kilos of poo out there every day. If this poo continues to be let loose on us, there will be no escaping the stench of life threatening infections, diseases and epidemics.”

In response, UNICEF launched the www.poo2loo.com campaign with this insanely over-the-top, potty-mouthed animated music video as the center piece. The absurdly catchy music was composed by Shrikanth Sriram (Shri) who composed the theme for “Life of Pi”. No word on animation credits yet. [Read more]

Framestore robinsons-squashd | STASH MAGAZINE

Framestore: Robinsons SQUASH’D “Zero Gravity”

Framestore CD/director Mike McGee leads an intrepid crew into weightlessness aboard a Go ZeroG plane to, well… flavor some water with Robinsons SQUASH’D thru Iris Worldwide.

McGee: “When we were inside the ‘vomit comet’ things got out of control pretty quickly: bits of our equipment floated away, cables floated up in front of the camera, cameras pointed in the wrong direction and the crew spun around uncontrollably feeling nauseous.”

“We had a team of eight up on the plane with a Go Pro camera each and two high-speed cameras shooting at 2K to allow us to slow down and zoom in on the all-important mixing shot. With only 12 takes to get everything we needed and only 15 seconds of weightlessness at a time, it was a formidable task.”

McGee: “When we were inside the ‘vomit comet’ things got out of control pretty quickly: bits of our equipment floated away, cables floated up in front of the camera, cameras pointed in the wrong direction and the crew spun around uncontrollably feeling nauseous.”

“We had a team of eight up on the plane with a Go Pro camera each and two high-speed cameras shooting at 2K to allow us to slow down and zoom in on the all-important mixing shot. With only 12 takes to get everything we needed and only 15 seconds of weightlessness at a time, it was a formidable task.” [Read more]

Morin_Hootsuite GoT | STASH MAGAZINE

Clément Morin: “Game Of Social Thrones” for HootSuite

Director/animator Clément Morin re-imagines Angus Wall’s now-classic 2011 “Game of Thrones” opening sequence to reinforce HootSuite’s prediction of the coming Social Media Winter caused by the “battles being fought between many social networks, who are building walls and blocking access between their [Read more]

Hornet_States United | STASH MAGAZINE

Yves Geleyn on the “Monster in the Closet”

Hornet director Yves Geleyn reveals to Stash readers his design and narrative goals behind the powerful new 90-second PSA for States United to Prevent Gun Violence:

“Most commercials would cut on the gunshot, but we felt strongly that we should show it. If it were live-action, broadcasting regulations would have stopped it. Animation allowed us to show the whole scene. People expect the climax even less because of the medium.

“Once we settled on using animation, the key to heightening the emotional impact is in the simplicity of the piece. Less is more. Your brain fills the gaps. You understand that you are in a kid’s room, but it is not filled with too many objects. It is about the mood. This gives more room for the characters to inhabit each scene.

“The character designs themselves are graphic. They have human proportions but in an illustrated way. It is about striking a balance between lovable characters while keeping them realistic so people can project themselves. The family also does not have any sort of key defining characteristics, which helps make them relatable to a wider range of people.

“Speaking in terms of lighting, it is designed in such a way that it points to areas we want you to focus on (something Renaissance painters used frequently). The lighting is sharp. There are no gradients. There are no shadows, just highlights. The lighting helps to build the scene.”

Facts about kids and guns in the US:

• 1.5 million American children live in homes with unlocked and loaded firearms.
• Every day at least 6 children age 0 to 18 are injured in an unintentional shooting.
• 75% of gun shot injuries to children under ten that are serious enough to require hospitalization are due to unintentional shootings. [Read more]

DesignStudio_Simian Mobile Disco | STASH MAGAZINE

DesignStudio: Simian Mobile Disco “Hachinoko”

The Japanese delicacy known as hachinoko (baby bee larvae) lends its name to this track from electronic duo Simian Mobile Disco brought to life in a “3D-animated whirlwind of the surreal and humorous” by London creative agency DesignStudio and AD/designer Jack Featherstone. [Read more]

FutureDeluxe_Nvidia | STASH MAGAZINE

FutureDeluxe Explores the Power of Nvidia

Beautiful exploratory frames from UK studio FutureDeluxe (London/Brighton) created as branding experiments in for Nvidia who asked the crew to development ideas “to demonstrate the computational power and creative potential” of their visual computing technology. “The thread images were created in Softimage and 3ds Max whilst the others in C4D with thinking particles, then rendered in Vray.” [Read more]

yU+co Opens “Silicon Valley” for HBO

Garson Yu and the crew at yU+co in LA handled concept, design and time-lapse CG animation in this short/sweet open for the new HBO comedy from Mike Judge where “various tech companies start up, expand, collapse, and quickly get supplanted by newer, fast-growing companies.” [Read more]

Oh Yeah Wow_Frameless STASH MAGAZINE

Oh Yeah Wow: Hudson and Troop “Frameless”

And the Award for Best Performance by a Deaf Blue Monster in a Music Video goes to Oh Yeah Wow director Darcy Prendergast who spent three months learning the Auslan sign interpretation of the song’s lyrics then endured a 26-hour shoot on a scorching 40C-degree day after only an hour’s sleep. Co-directed by Andrew Goldsmith. [Read more]