Happy Christmas

We’d like to wish everyone a happy and cake-filled Christmas. Here’s to a fun and interesting 2016!


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Kylie | Only You | lyric video

Trunk Animation’s director Layla has created a beautiful lyric video for Kylie Minogue’s new cover of Yazoo’s chart topping hit ‘Only You’. The new classical arrangement is a duet with The Late Late Show host James Corden.

The brief asked for a simple and elegant video to mirror Kylie’s new arrangement. Trunk’s Layla poured through a mountain of source material before coming across a single image that for her captured the spirit of the song.

Previously Trunk’s lyric videos for the likes of the Rolling Stones, Vampire Weekend, and Lilly Allen have concentrated on the text being king. However for this song Layla felt a more pared back look was needed.  Using After Effects she concentrated on animating two simple star elements that represented Kylie and James. Their journey and pace perfectly conveyed the relationship of the two performers captured in the duet. A simple typeface kept the focus of the video on the interaction of the elements with the text, rather than solely on the text.

The festive message was perfectly captured using a traditional Christmas palette with simple snowflake and star elements. Layla notes, “ I was thrilled to get the chance to work with Kylie. Once I had decided on the look and feel of the video I thought it would be a simple and straightforward process. However, we spent a long time trying to find a way to smoothly animate the star, its trail and the gap between them. After a morning of tests we found that using a concoction of particle emitters, masks and splines achieved the perfect look, and then it was just down to getting the timing right. I have to say that while it can be frustrating, the sense of achievement when you find a way to make something work rather than abandon the effect you want is wonderful. ”

The finished festive video happily joins Trunks growing portfolio of lyric and music videos for the likes of Blur, Rolling Stones, Coldplay, Take That and Elton John. Exec Richard Barnett notes ”Creating this video just before Christmas has put all of us at Trunk in a festive mood and caps a very busy and fulfilling year”

Click below for press coverage:-

Animation Magazine EU

Design Week

Digital Arts

Page Online

Pop Screen

Promo News


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Floating Points | Silhouettes | About

Trunk’s director Junior Martínez animates light

Trunk’s director Junior Martínez and Pablo Barquín have created a stunning and mesmerising video for Floating Points, aka Sam Shepherd. The music in the video is taken from ‘Silhouettes (I, II & III)’, an eleven-minute overture that is also the second track on Floating Point’s forthcoming debut album. Elaenia (out via Pluto in the UK and Luaka Bop in the US on 6th November).
The video came about when Sam Shepherd saw the amazing light rig Pablo had built at Hamill Industries in Barcelona. The motion rig converts digital 3D data into analog movement to control the path of an LED resulting in ethereal 3D light images. Mixing in camera effects with digital precision has always fascinated Pablo. He states that “the hardware wasn’t complicated and took us around 3 weeks to develop and build, but the software took a bit longer, almost a month. The hardest part was developing the right combination of hardware, software, electronics, cameras, lighting etc and getting them all to communicate perfectly. “
Sam noted “Junior, Pablo and I have all been friends for a long time, and I was always hanging around the studio in Barcelona, When he [Barquín] invented a light painting machine, the idea to do a music video came about very quickly”.

The video was shot in a purpose built landscape within Barquín’s studio as well as on location in Rio Tinto. This corner of the Spanish and Portuguese border is deemed the closest thing to Mars on Earth and perfectly portrays the sense of space suggested by the music.
The location also led to a lot of challenges Pablo notes “Shooting in Río Tinto was really hard, as we had only 5 nights and a lot of material to shoot. It was the first time we used this machine for a shoot so it was kind of hard to make a shooting plan with the right timings. Sometimes an animation of 70 frames could take a whole night to get done. We learnt on the fly how to be more efficient. It was a huge effort: we crossed the entire Country! Sometimes we even had to choose a location in total darkness in the middle of a mine!”

Junior observed that the tough working conditions helped the shoot in ways that were unexpected “During one of the first shoots in Rio Tinto at 5am in the morning a big scary mist came down and we thought, because it was time-lapse, taking 5 min for each frame, that it would look weird. Yet it was the opposite, it was amazing, so we added loads of smoke when we filmed in the studio to recreate the look of that amazing shot. It generated a natural glow, ambient, creating a mysterious background like E.T. “

The dazzling and compelling video is accompanied by a ‘making of film’ that shows the lengths that Junior and the guys went to to finish the video. And as noted by Richard at Trunk “ It’s always such a pleasure when Junior sends us projects he’s working on, we have a really close relationship so it’s great to see the progression, you always know you are going to be in for a visual treat!”

Directors: Pablo Barquín, Junior Martínez
Creative Team: Pablo Barquín, Anna Diaz Ortuño, Nathan Grimes, Junior Martínez
Executive Producers: H.I. (Hamill Industries) & Floating Points
Lead Producer: Anna Diaz Ortuño
Director of Photography: Nathan Grimes
Research & Technical Development: Pablo Barquín, H.I.
H.I. Technical Assistant: Joan Recasens
Editor: Anna Diaz Ortuño
Lead Animators: Fernando Domínguez, Wyz Borrero
Animators: Ohmyhood Luis “Inkclear” Redondo
Concept Artists: Junior Martínez , Michele Angelo
Plants Set Decorators: Estudio Sauvage
Post-production Team: Agus Verrastro, Florent Bastide
Production Assistants: Aida Busquets, Lidia Arruego
Digital Intermediate provided by RCO
RCO Colorist: Seth Ricart
RCO Producer: Marcus Lansdell
Special thanks to:
Fundación Rio Tinto, Ivan Rodriguez, 380 Monta Llum i Roda, Rab and Tanya Gordon, Chabeli Rodriguez, Marga Sardà, Alba Barneda, DVEIN, Agus Verrastro, Pamplona89, RCO, Laura Martinova, Pablo Hugo, Melissa, Saúl Narbona, Irina, Javo, Elsa Tejera, Jacinto Barquín, Marc Luelmo, Tinta, Cynthia, Sarah, Mita, Eric and specially to Sam for believing in this project since the very beginning.
Shot in Río Tinto, Huelva & Hamill Industries Headquarters
Barcelona, 2015

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Visual Reference for Rattle That Lock

Here’s a glimpse behind the scenes on Rattle That Lock. We took a load of photos as visual reference for our mega-talented illustrator Jock Mooney. It’s fun to see various animators and Trunk people in cameo roles throughout the piece

hat 500x165 Visual Reference for Rattle That Lock

stairs 500x165 Visual Reference for Rattle That Lock

hands 500x165 Visual Reference for Rattle That Lock

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David Gilmour | Rattle That Lock | Alasdair + Jock

Trunk Animation’s epic music video for David Gilmour’s new single Rattle That Lock started with a brief but intriguing phone call back in March.

‘Hi it’s Fiz Oliver, the producer at Hipgnosis. We’d like to come in and have a chat about a project for David Gilmour.’

The opportunity to work with such an iconic studio for such a renowned musician was both extremely exciting and slightly daunting for directors Alasdair + Jock.

Hipgnosis was created in 1968 when Creative Director Aubrey Powell teamed up with close friend Storm Thorgerson, and together they re-wrote the visual language of album covers. They created some of the most outstanding images in music history for Led Zeppelin, Paul McCartney, Peter Gabriel, Black Sabbath, 10CC, and Pink Floyd. Powell and Thorgerson famously brought London’s air traffic to a standstill when the large inflatable pig they were using as a prop for the Pink Floyd ‘Animals’ album shoot broke free from Battersea Power Station and drifted into Heathrow’s international flight path. Since Storm Thorgerson passed away in early 2013, Aubrey Powell has consistently worked with David Gilmour and Pink Floyd, continuing the tradition of bespoke design.

David GiImour has stood at the pinnacle of musical achievement for over forty years. A core member of Pink Floyd, the singer, songwriter and virtuoso guitarist’s unique sound can be heard on his latest solo project “Rattle That Lock”. The title track on the album of the same name was inspired by an unlikely mix of the French SNCF rail announcement jingle and John Milton’s epic 17th century poem Paradise Lost.

David Gilmour’s song, with lyrics by Polly Sampson, was inspired by Book Two of Milton’s poem which sets out to deal with the grandest of themes. The poem, which encompasses twelve books, concerns the Biblical story of the Fall of Man: the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. In book one Milton lays bare his intention, to “justify the ways of God to men”.

With a brief to reference Gustave Doré’s sensational mid-19th century illustrations for Paradise Lost, the project needed a team who could not only bring the intricately detailed etchings to life but could do so in a manner that captured the depth, drama and scale of both Gilmour’s song and Milton’s poem.

Trunk directors Alasdair + Jock were perfectly placed for the project. Taking advantage of the rare but well-judged need of a development period, the team set to work studying the poem and its wider significance. The film’s rich narrative takes its main inspiration from the first three books of Milton’s poem but incorporates details from all twelve.

The film follows the fall of Satan from the kingdom of Heaven and his subsequent journey through Pandemonium, Purgatory and Chaos on his way to corrupt the virgin Earth. As the tale plays out, Satan takes on new forms as his character also progresses. Starting as the beautiful yet fearful Fallen Angel he is first re-born as a sinister, masterful Cormorant before finally transforming into a lithe Serpent that wreaks havoc on the Earth in a cloud of jealousy and rage.

Having both attended Edinburgh College of Art, Alasdair + Jock revelled in the opportunity to develop the imagery and weave some of their favourite art references into the mix. Goya, Bosch, Piranesi, Bernini and John Martin were all heavily referenced, as were smaller details from the famous ‘She Wolf’ Roman statue, a subtle skeletal illustration from ‘The Birth of Venus’ by Botticelli and an Otto Dix inspired dead horse. A particular favourite of the team is a sequence set in a petrified forest, influenced by Gustave Doré’s illustrations for The Inferno and German printmaker Albrecht Dürer.

Once David Gilmour and Polly Samson had signed off the overall concept, Trunk’s producer Richard Barnett pulled together a team of 12 animators, art-workers and compositors. Over the next three months Alasdair + Jock threw lakes of fire, petrified lost souls, and even the hounds of hell at the team. With Jock creating massive original drawn artworks for the backgrounds and Alasdair pulling all the elements together in the composite, the team worked tirelessly to create mesmerising sequences.

With the creative bar set so high, technical challenges were never too far away. The level of quality in the animation came at a cost, both in time and resources. Each frame went through a range of different processes. The animation was roughed out, cleaned up and had layers of art-working added. The animation was then composited with highly detailed backgrounds, adding further lighting, effects and camera moves. Finally, the whole sequence was sent through a colour grade at Glassworks.

Working with the talented sound designer Barnaby Templer and his team at Fonic, the film was brought to life with layered foley and sound effects, which were then delicately mixed with David Gilmour’s track.

The finished film has all the elements that we have come to expect from an Alasdair + Jock animation. A beautiful play of light evokes the softness of Doré inspired prints, while the strong visual narrative captures the epic nature of Milton’s poem. A dark humour underlines many of the scenes and the detailed imagery reveals countless references to the poem layered throughout.

The video demonstrates Trunk’s position as one of the country’s leading animation production companies, with a client list that boasts the likes of Blur, Elton John, The Rolling Stones, Elbow, Hot Chip, Madness and Coldplay amongst others.

The finished video will accompany the release of the album by the same name on social media. The De Luxe Box Set also includes a documentary by Aubrey Powell, charting both the making of the song and the animation process itself.

Director: Alasdair + Jock
Producer: Richard Barnett
Production Company: Trunk Animation
Creative Director: Aubrey Powell @ Hipgnosis
Producer for Hipgnosis: Fiz Oliver
Associate Producer: Daniel Negret
2D Animation: Layla Atkinson, Alasdair Brotherston, Stuart Doig, Carlos De Faria, Alex Potts
3D Animation: Clélia Leroux, Rok Predin
Art Workers: Rachel Callinan, Ana Garcia, Théo Gremillet, Laura Ireland, Reina Shibahara
Illustration: Jock Mooney
Compositing: Alasdair Brotherston, Andy Hague
Audio Post Production: Fonic
Sound Editor: Marty O’Brien
Sound Design and Mix: Barnaby Templer
Grade: Matt Hare @ Glassworks
Producer for Glassworks: Paul Schleicher
Music: David Gilmour/ Michaël Boumendil / Lyrics: Polly Samson

A Hipgnosis Ltd Production

Rattle That Lock published by Pink Floyd Music Publishers Ltd., administered by Imagem UK Ltd. / Sixième Son Édition
© 2015 David Gilmour Music Ltd.

For further information, please contact:
Richard Barnett, Trunk Animation
Tel: 0207 407 0221

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Ong Ong in Computer Arts

There’s a lovely feature on our Blur video in August’s Computer Arts magazine. Pete Mellor discusses how we managed to turn that whole thing around in just nine (intense) days.

ong ong mag 500x358 Ong Ong in Computer Arts

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Blur | ‘Ong Ong’ Music Video


Having just finished a new lyric video for the Rolling Stones and currently working on a top secret project for a rock legend, Trunk were approached by Parlophone to work on the video for Blur’s new single. ‘Ong Ong’.
The penultimate track on Blur’s newest and critically acclaimed, Number 1 album The Magic Whip is “Ong Ong”, which has been given the Trunk treatment by directors Layla Atkinson and Pete Mellor.

Blur’s Creative Director Tony Hung’s concept of a classic arcade game video required the animatic to be pinned down as quickly as possible. Working with Tony, Trunk’s directors nailed it in just a couple of days, whilst a crack team of animators were lured into the studio, and 7 days later with only one killer all-nighter, the video was complete!

Influenced by the classic games such as Mario Bros, Donkey Kong and Pac – Man the video features the cute Mr OK, a bouncing ball which can be seen on the Ong Ong cover art, on a quest to be reunited with his girlfriend. In this wonderful traditional narrative, each level features a ‘Boss’ that our hero has to defeat. The riotous live-action sequence at the end of the video identifies each ‘Boss’, which were superbly characterised in digital form by Peepshow Collective’s very own Spencer Wilson. The gorgeous colourful palette used and playful nature of the video perfectly mirrors the fun and pop feel of the song.

Layla notes, “The song is full of fun and is very catchy which lent itself perfectly to Tony’s arcade game theme. As a big fan of the look from those early video games it was great to research them and to recreate classic 8 bit games such as Pong and Astro pinball”

Click below for Press coverage :-


Computer Arts

Creative Review

Digital Arts



Lester banks



Promo news




The Animation Blog


Band: BLUR
Track: ONG ONG

Director: TONY HUNG
Production company: TRUNK ANIMATION
Animation direction: LAYLA ATKINSON and PETE MELLOR
Associate Producer: DANIEL NEGRET
Illustration: SPENCER WILSON
Management: ELEVEN MGMT

MR. OK as MR. OK
MS. OK as MS. OK

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Rolling Stones | Wild Horses Lyric Video

Hooray! our new lyric for up-and-coming rock n roll band The Rolling Stones is out! It’s directed by the amazing Rok Predin with artwork by Layla. It’s the product of a frantic week’s work. Take a peek-

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Pit of filth

We pulled a weekender. The studio is a pit of utter filth. You should be able to see the fruits of our labours very soon…

muck 500x314 Pit of filth

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