Press Archives - Page 3 of 12 - Trunk | Animation Production Company
Kylie | Only You | lyric video
On 26, Nov 2015 | In news / blog, Press | By Layla
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:-
Trunk’s director Junior Martínez animates light.
On 03, Nov 2015 | In Press | By Pip
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. “
Junior felt the music needed a cinematic feel and came up with the concept for the video. “ I wanted to film the video somewhere that had a vast space such as a mountain range or desert. Pablo had always wanted to film in Rio Tinto on the Spanish and Portuguese border, it is deemed the closest thing to Mars on Earth, and ended up perfectly portraying the sense of space and grandeur suggested by the music. I wanted lights to appear in the heavens and unite on the ground, pulsating and stirring to the music. Due to time restraints I knew we had to recreate that amazing landscape in the studio yet thanks to Anna Diaz Ortuño’s excellent editing skills the transition in the video was seamless. We also worked closely together to ensure the story arc was more artistic and unearthly than narrative.”
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 “Although I created animatics for each shot the unexpected always happened. 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 to which Junior, Pablo, Anna and director of photography Nathan Grimes went to finish the video.
Richard at Trunk noted “ 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!”
Click below for press coverage:-
Credits:-
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
Floating Points | Silhouettes | Making Of
On 29, Oct 2015 | In Press | By Richard
An oscillating stream of light attempts to intrude on an arid natural landscape, abstract light and a living environment merge, reacting to the dynamics of the music.
The luminous abstract forms are produced by a light-painting machine that, frame by frame, draws in a real environment the 3D animated figures.
This is an experimental video created by Pablo Barquín, Junior Martínez, Nathan Grimes and Anna Diaz Ortuño.
Directors:
Pablo Barquín hamillindustries.com
Junior Martínez trunk.me.uk/index.php/category/directors/junior/
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
(c) 2015 Pluto
Trunk Animation’s video for David Gilmour’s Rattle That Lock
On 10, Aug 2015 | In Press | By Pip
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 angelSatan 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.
Click below for press coverage :-
Credits:-
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.
Blur | ‘Ong Ong’ Music Video
On 03, Jun 2015 | In news / blog, Press | By Richard
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 :-
Credits:-
Band: BLUR
Track: ONG ONG
Director: TONY HUNG
Production company: TRUNK ANIMATION
Animation direction: LAYLA ATKINSON and PETE MELLOR
Producer: RICHARD BARNETT
Associate Producer: DANIEL NEGRET
Illustration: SPENCER WILSON
Animation: AMY SUTTON, LESLEY DART, LAYLA ATKINSON, PETE MELLOR.
1st ad: JONATHAN SIDWELL
DOP: PHIL POOLE
Costume design: SUSSIE JUHLIN-WALLÉN
Commissioner: WILLIAM NICHOLS
Management: ELEVEN MGMT
DAMON ALBARN as MR. CREAM
GRAHAM COXON as MR. BROWN
ALEX JAMES as MR. RED
DAVE ROWNTREE as MR. BLACK
MR. OK as MR. OK
MS. OK as MS. OK
Pete Mellor creates a beautiful new 12 min short “Saving Joule”.
On 05, May 2015 | In Press | By Pip
Trunk and Peepshow Collective director Pete Mellor has created a fantastic educational film for Saudi children. Peepshow were approached by The Edge Picture Company to produce an animation for KCA London and their client the Mishkat Interactive Centre for Atomic and Renewable Energy in Saudi Arabia.
The film is aimed at 6 to 10 year olds and tells the story of Joule, an adorable robot trying to power his ship and rejoin his lost fleet. He is assisted in his search by a friendly alien who shows him that there are alternative energy sources available such as solar, wind and nuclear power. With nods to great sci-fi classics such as WALL-E, Avatar and Star Wars the short is full of humour, tension and jeopardy as Joule completes his quest.
Nick Canner, creative director at The Edge, wrote the film’s initial story line. This was fleshed out during the production process with the help of the guys at Peepshow who worked out more of the narrative structure and flow to make a truly enjoyable film.
A fabulous child friendly palette is used throughout the short, which uses solid colours for the main characters, designed by Spencer Wilson, juxtaposed against textured backgrounds that are reminiscent of the illustrations in 1960’s books about space. These were created by Luke Best who, to obtain that particular look, created lots of hand painted, watercolour textures. Pete notes, “The design and colours within the film had to look as if they had come from an alien world. It was also important to the client that each landscape had a unique palette. It was interesting that Luke designed a whole forest of mushroom like trees which meant nothing to the Saudi client as mushrooms are not native to that part of the world.”
Working to a tight schedule the short was created using Cinema 4D and After Effects and is accompanied by a soaring and majestic score put together by Simon Keep from Holkham Sound Design studio using Audio Network’s huge library of orchestral tracks.
The finished film will be shown exclusively to visitors on the Centre’s hi-tech, 18 metre wide screen in Riyadh and, as there are no cinemas in Saudi Arabia, for some viewers this will be a unique and exciting experience.
Click below for press coverage:-
Credits: –
Animation / Compositing – Pete Mellor, Chris Sayer, Jason Arber
Illustration / Art Direction – Luke Best, Spencer Wilson, Miles Donovan / Peepshow Collective
Director – Pete Mellor / Peepshow Collective
Producer – Miles Donovan
Music Editing / Sound Design – Simon Keep / Holkham Sound Design
Client – The Edge Picture Company / KCA
Trunk creates a beautiful lyric video for ‘Wild Horses’ from Rolling Stones iconic album “Sticky Fingers”.
On 08, Apr 2015 | In Press | By Pip
Lightning does strike twice! That was the feeling at Trunk’s studio when Emily Tedrake from Polydor got in touch to create another lyric video for the mighty Rolling Stones. Following Trunk’s very successful lyric video for ‘Doom and Gloom’, which has had over 13 million hits, making it the Stones most watched video on their YouTube channel, the stakes were high! The team was tasked with creating a video for ‘Wild Horses’ the 3rd track on the band’s seminal album ‘Sticky Fingers’. The album is being re-released with a stunning 100+ page booklet to coincide with the 45th anniversary of its first release.
It was a daunting task as director Rok Predin notes. “Some jobs are just very special and this was certainly one of them. Although we had worked for the Stones before, working on an album that is so famous was ever so slightly intimidating! We knew we had to include a zip, which referenced Andy Warhol’s iconic artwork that was used for the original album cover, and the typeface from the new booklet that accompanies the re-release of the album. Other than that we were pretty much given a free hand. ”
The resulting video is stunning and beautiful. Created using Cinema 4D and After Effects, the team used the track’s gentle feel to pace the video while certain lyrics suggested themes and movements. Trunk Animation’s talented Layla Atkinson developed the artwork for the video using elements from the booklet that included the band members’ fingerprints and smudges. Photographs of the band were manipulated by the team and degraded in Photoshop, as was the typeface, to fit into the overall look and feel of the finished video.
The most challenging part for Layla “had to be scanning Rok’s beautiful 12 string guitar, to create the sequence in which the fret board is zipped up”. The zip ‘fob’ used, made from John Pasche’s famous lips logo, was especially appropriate as ‘Sticky Fingers’ was the first album in which the logo appeared.
Producer Richard Barnett was thrilled with both the job and the finished video, especially given the tight turn around. “While we love all the projects at Trunk it’s always nice to be asked by rock royalty to get involved with a release. Layla, Rok and the team have done a great job. The track was originally a lullaby to Keith Richards’s son Marlon, and the tender pace of this video is far softer than the passionate pace of our previous Stones vid. So far it has been a very exciting time at Trunk with a big studio move just after finishing our Coldplay project, and now seeing in our new studio with a job for the Rolling Stones, it’s been a great start to the year!”
Click below for press coverage :-
VOTD
Credits:
Animation/ Compositing- Rok Predin, Alasdair Brotherston, Lesley Dart
Production Assistants- Daniel Negret, Nic Sanchez
Artwork- Layla Atkinson
Director- Rok Predin
Producer- Richard Barnett
Music- The Rolling Stones
Music Producer- Jimmy Miller
Commissioner- Emily Tedrake
Record Company- Polydor
Trunk Animation’s Layla Atkinson directs two 30-second TV trailers for the BBC.
On 07, Apr 2015 | In Press | By Pip
To promote BBC Four’s new series The Sound of Song Red Bee Media contacted Trunk to create two TV spots. The up-coming series explores the story of modern music and how elements come together to form our favourite songs. An initial brief centered around two “factoids” featured in the series. The first was how a riff can be modified and used by a variety of artists. In this case Chic’s bass line from 1979’s Good Times was modified and used by many artists, ranging from Queen to Daft Punk. The second was how, in 1926 while recording Heebie Jeebies Louis Armstrong’s sheet music fell from the stand. Armstrong continues singing, improvising his lyrics and inadvertently inventing the “scat” singing style.
Layla notes “I wanted both trailers to share a restricted palette, a pared back illustrative style and sinuous lines to create unity across the two disparate stories”. To that end both spots use a simple and elegant graphic style infused with humour that flows beautifully with the music discussed in the trailers.
Each piece finishes with the voiceover strap line “You’ll never listen to your favourite songs in the same way again” a statement that is skillfully presented in these two lovely trailers.
Click below for press coverage :-
Credits: –
Director- Layla Atkinson
Animation- Leslie Dart
Line Producer- Pedro Lino
Producer- Richard Barnett
Commissioner- Matthew Shapland/Red Bee Media
Trunk’s Junior creates video for Sasha Kloeber’s remix of SRTW’s ‘We Were Young’.
On 11, Feb 2015 | In Press | By Pip
Trunk’s Junior delivers a perfect video to accompany Sasha Kloeber’s remix of SRTW’s ‘We Were Young’.
The deep house track from spinnin records features a melodic calming beat, grand chord progressions and flawlessly chopped vocals. On one listen Trunk’s director Junior was hooked and inspired. When he heard the track he notes, “The way the loop of the voices accompanied by the synth and the guitar… and the sample voice saying “we were young … having fun … read my mind”. When I heard this my brain started to trigger a montage of random memories, short ones, even cropped ones that produced different emotions….” He set out to create a video that compares the drudgery and monotony of adult life against those fragmentary and misremembered moments of a younger carefree self.
Matching the chop and breaks in the track with visual cuts and edits creates a mesmerizing visual narrative that refuses to present a traditional story arc. Junior states, “The video is like a blurred memory, as though you’d been hypnotized, not all the information is there, it’s deliberately flat, not photo real.”
Juniors use of a tonal colour palette, that triggers memories of the nineteen eighties when deep house originated in Chicago, beautifully supports the strong flat graphic style of the video. Repetitive loops representing moments in a day and memories in time feature throughout the video anchoring those thoughts in the present. This graphic style was created using Illustrator, capatilising on its smooth vector lines and flat colour fields. It was animated using Flash and After Effects.
Click below for press coverage :-
Credits:-
Animation- Layla Atkinson, William Smith, Lesley Dart, Juan Buscarons
Illustration- Junior
Director- Junior
Producer- Richard Barnett
Commissioner- Hanan Cher
Record Company- Universal
