Cravendale Barry the Biscuit Boy by Blinkink | STASH MAGAZINE

Joseph Mann and Andrew Thomas Huang: “Barry the Biscuit Boy”

Blinkink directors Joseph Mann and Andrew Thomas Huang lead a massive crew into a three-week shoot of 16 live-action puppets and animated stop-motion models for Cravendale thru Wieden+Kennedy London. [Read more]

And the Award for Best Use of Security Footage…

…in a TV Spot Goes to: The agency team at Propeg in Salvador, Brazil for this VFX-free head-shaker called “Almost” produced for The Association of Transplanted Patients Bahia (BA-ATX), a Brazilian nonprofit. [Read more]

Music Video Concepts and Directors. Who Needs ’em?

Good thing most of you’ve been creating music videos with no budget for years otherwise this new automated music video generation tool called Rotor could be very depressing. From the Rotor site: “Rotor is the next generation music video creation tool. It’s been handcrafted by award-winning music video directors [Read more]

Murat Sayginer_Zodiac | STASH MAGAZINE

Behold, Murat Sayginer’s “Zodiac-Evolution”

Czech-born digital artist/photographer/filmmaker/composer Murat Sayginer embarks on another acid-soaked trip down the 3D rabbit hole with his new clip called “Zodiac-Evolution.” While Murat’s earnest tone and exuberant use of CG tropes have a polarizing effect on audiences, we choose to file his work under [Read more]

Vallee_Hermes | STASH MAGAZINE

Vallée Duhamel for Hermès Paris via Montreal

Julien Vallée and Eve Duhamel‘s claim to “favor a playful and experimental approach toward work” rings true in this whimsical clip for luxury brand Hermès Paris thru agencies Digitas France and Publicis Et Nous. Check the behind the scenes vid to watch the Montreal duo and their crew shoot everything live in-camera. [Read more]

Denial of Service: “Dextro Rotatory Helix”

UK audio and visual engineer/producer Harry Martis (aka Denial of Service) unleashes a fabulously dense and ominous abstract CG piece he describes as “another chemically-induced self-initiated project. All visuals completed in 3ds Max (utilizing some seriously intense PFlow scripting for the sound-reactive 3D [Read more]