Staying sane! We're working on this great little commercial for
Nickeloleon and then a not-so little campaign for (sorry, cannot
disclose – check-back next month!).
2. What have you found is the best tool or innovation that has come out in the last year?
Clearly the X6.3 PHPModule Server upgrade to the
ShineOverglowLensFlare Nurb. It sweeps my keyframes! I've always
considered myself a graphic designer first and foremost – it's more
about graphically solving problems to me (I was taught well at
CalArts). How I draw it, what plugin do I use to make that happen..
that's secondary to an extent. Although props to Adobe for After
Effects 7.0 and I see wonders being made around the office using
Particular 2.5.
3. The project (film, television, commercial or music video) that most impressed you in the last year? Why?
Little Miss Sunshine. The most heartwarming film about a
dysfunctional family I've ever seen. I'm in admiration of
commercial/music video directors crossing over and making such a
beautiful feature-film debut.
4. The best or favorite project that you worked on in the
> past year? And why?
Getting to create this California Coastal Commission spot was hands
down the best project of the year. We were handed over this
incredible print-ad, of an Egret with a cigarette for its beak
(hence Cigegret), and were asked to bring it to life. To me, that
was the most ideal situation: coming up with a concept and story of
sorts that would introduce this non-native species to the world.
Subjecting a beautiful white egg to pollution by smoke and tar.
Innocence tainted. Initially, we meant the cuts to be more jarring,
the style to be a little darker – to really drive the point home; I
think we finally got to an great place and it's always a breath of
fresh air (no pun intended) to work for such a cause. Our animator
Sam Sparks did a wonderful job of bringing my boards to life.
5. Name the top 4 artists on your iPod?
Tom Waits
Fairouz
MSTRKRFT
M.I.A.
________________________________________
Last year’s campaign elements from the agency, which included posters featuring Audubon-inspired images of imaginary creatures made from trash, such as the CigEgret, SporkCrab and ColaBass, earned major 2006 One Show and Cannes Advertising awards. This year, the agency’s creative team, including creative director Jeff Goodby, associate creative directors Paul Foulkes and Tyler Hampton and producer Michael Damiani, called upon Stardust to stylishly conjure one of the creatures for a PSA.
“Stardust has done a lot of great end-graphics work for us on the Comcast campaign, and we've really enjoyed working with them,” Paul Foulkes explained. “For this year’s California Coastal campaign, we had this ‘miracle of birth gone wrong’ idea about the egg. We gave that idea to Stardust and worked with them along the way to refine it, but basically, they took that and ran with it to bring it to life.”
When the project was first discussed, Stardust’s executive producer Eileen Doherty immediately jumped onboard. “Because we are normally so focused on commercially driven work, the opportunity to work on a project that has the potential to do so much good for the environment instantly attracted us,” she said. “We knew right away that this piece had the chance to motivate people to make a positive difference for California’s coastline.”
Stardust’s designer Kinda Akash and Doherty worked closely with the agency’s creative team to nail-down the spot’s concept. “The agency wanted something that looked realistic,” Akash began. “As we looked further into the reality of putting a cigarette on a baby chick, and showing other aspects of pollution, we suggested a more stylized approach, which ultimately we all felt did the best job of showcasing pollution’s harmful effects.”
Akash and her Stardust colleagues, including animator Sam Sparks and effects artist Mikey Plescia, used Adobe Illustrator and Photoshop for design, Autodesk Combustion for keying, Adobe After Effects and Autodesk Maya for animation, and After Effects for final compositing.
“What I really like about the finished spot is its style; it’s not quite animation, but it’s not real either,” added Tyler Hampton. “It draws people in, and then it's quite eery once this creature comes out. Overall, it feels like something that will cut through the usual live-action things you see on TV.”
John Reese of Mophonics handled the spot’s sound design and musical composition, and final audio was mixed by Eben Carr of One Union Recording.
Sections: Creativity
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