British director and painter Daisy Jacob‘s unique combination of seven-foot-tall animated characters in life-size sets combined with stop motion lends a whimsical and disjointed flavor to “The Bigger Picture,” her stark and darkly humorous tale of two brothers struggling to care for their elderly mother. [Read more]
Stash 105 showcases the planet’s top design, animation and VFX studios plus breakout young motion talent, adding another 31 outstanding video projects to the permanent collection. Carefully curated since 2004, the Stash library now features over 4,000 exceptional films and behind the scenes features, with [Read more]
Peek behind the scenes with the Vetor Zero/Lobo crew in São Paulo’s as they craft the tiniest of details in the stop-motion tail credit sequence for “Brincante,” a docudrama exploring the life and work of Brazilian musician, performer and folk culture researcher Antonio Nóbrega. [Read more]
Spread across 6,000 miles, six time zones and every possible climate, the design, animation and VFX industry in Latin America represents a staggering array of talent bound together by a passion for creating outstanding work. (Watch the collection here.) Stash’s third collection of studios from across this vibrant region [Read more]
CD/director Kirk Kelley and a LAIKA/house crew of 60+ expose their collective obsessive compulsive disorder in this :60, creating psychotically detailed handcrafted dioramas for Jose Cuervo Tradicional (the world’s first tequila) thru McCann New York. Check out the extensive behind the scenes post here.
Freelance London animation director Andy Martin reveals the fine art of creating stop motion loops via his Vine-based Plasticine Rhythm project, “I have always been interested in the way visuals can effect sound and how visual loops can be brought together to create a piece of music.
“This is how I produced Plasticine Rhythm; allowing each stop motion loop, made using Vine, to dictate a sound and combining these sound loops on screen to build a compatible interplay of rhythm and melody. Once this was established I then played with all the elements, including the background color and the mini-TVs containing the loops, so every element was intrinsically linked with the music.”