2d animation Archives - Page 4 of 6 - Trunk | Animation Production Company
Benjamin Scheuer’s “Weather the Storm” video.
On 12, Apr 2016 | In news / blog, Press | By Pip
Trunk animation and Radish pictures team up for songwriter Benjamin Scheuer’s award winning “Weather the Storm” video.
Award-winning film director Peter Baynton has been working at Trunk animation creating a video for Benjamin Scheuer’s song “Weather the Storm”. The track is from Scheuer’s highly acclaimed theatre show The Lion, an autobiographical one-man musical that has won numerous awards including Best New Musical at London’s Off-West End Awards and a Drama Desk Award for Outstanding Solo Performance in New York. Scheuer is currently on tour with The Lion throughout the United States.
“Weather The Storm” appears on Scheuer’s forthcoming album Songs from The Lion (out, June 3 via Warner/ADA).
The video for “Weather The Storm” follows Dickie, a recent widower who has run out of toothpaste, on his quest for self-reliance. Baynton says of the work, “the song contains a theme and a message that is universal. Initially we thought we’d tell the story through three very different characters, but during the months of storyboarding Benjamin and I fell in love with the personality embodied in Dickie, the old fellow who is now our hero”.
Using watercolours to produce cubist forms with Lowry inspired elements the finished video is beautiful in both heart and design. The team at Trunk used TV Paint for the drawn character animation, which was the only digitally created element in the video, and After Effects for compositing. The animation from storyboard to completion took only nine months. This time frame was not helped when one of Peter’s watercolours blew out of a window at Trunk’s riverside studio and nearly ended up in the Thames. Thankfully, Trunk’s Producer Daniel Negret raced a rising tide to save the background.
“Weather The Storm” is the third video released by the team of Baynton and Scheuer.
Their animated video for the song “The Lion” premiered at the 2013 Annecy Festival, where it won the Jury Award for Commissioned Film; it has since won numerous awards, including the Public Choice Award at the 2014 British Animation Awards.
Their video for “Cookie-tin Banjo” won Best Music Video awards at the 2015 Encounters Short Film Festival and Flik! Amsterdam Animation Festival. It was also a finalist for Best Music Video at the 2016 British Animation Awards.
Trunk’s executive producer Richard Barnet notes, ”Working with Peter and Benjamin has been a wonderful experience. All of us at Trunk are delighted with this beautiful uplifting video that superbly interplays humour with pathos. The video is the first to be co-produced by Trunk Animation and Baynton’s own Radish Pictures and we know it will be as successful as Peter’s previous videos for Benjamin. Indeed it was premiered at the 2016 British Animation Awards, where it has already won Public Choice for Best Music Video ”.
Credits:-
Director: Peter Baynton
Producer: Daniel Negret
Executive Producer: Richard Barnett & Benjamin Scheuer
Production Company Radish Pictures & Trunk animation
2D Lead Character Animators: Peter Baynton, Alex Potts, Ismael Sanz Pea, Teddy Hall, Reg Isaac
Inbetweens, artworking and background characters: Rachel Calinan, Claudia Chircop, Théo Gremillet, Emily Knight, Clélia Leroux.
Backgrounds and design: Pter Baynton
Compositing: Philip Davies, Rok Predin
Audio Post Production: Fonic
Sound Editor: Marty O”Brien
Sound Design and Mix: Barnaby Templer
Words and music by Benjamin Scheuer
Guitar and vocals by Benjamin Scheuer
Bass by Chris Morrissey
Drums by Josh Dion
Additional vocals by Jean Rohe
Audio engineering by Pat Dillett and Chris Allen
Audio mixing by Kevin Killen
Audio mastering by Greg Caibi
Song produced by Geoff Kraly
From the album “Songs from The Lion by Benjamin Scheue
Rok Predin creates a music video for Steve Mason.
On 12, Apr 2016 | In Press | By Pip
Trunk Animation’s Rok Predin creates a ‘Controlled’ music video for Steve Mason.
Director Rok Predin at Trunk has animated “Alive” the second track from Steve Mason’s third solo album ‘Meet the Humans’, released to rave reviews this spring. The video is a homage to 1990’s video gaming, and rather than the iconic platform style as seen in Trunk’s recent work for Blur’s track ‘Ong Ong’, Rok adopted the isometric look of early 16-bit video games such as Street Fighter and Sim City. The clunky pseudo 3D graphic look of those games was lovingly and skillfully recreated by Rok and the team using Cinema 4D and After Effects.
The song’s theme drove the context of the video. In the game each character is held in a sort of stasis by a virus that hovers over them. To break free, the characters first need to understand what is keeping them captive, before classically having a big all out scrap! This is cleverly brought about, with a heavy and knowing nod to John Carpenter’s classic sci-fi movie “They Live”, by donning a pair of glasses that reveal the viruses.
Rok says, “Alive was a really inspiring song to work to. Once we honed in on the visual language of the story that Steve wanted to tell everything else came pretty naturally. The idea that we’re all just participating in a sort of game, a power-play of forces beyond our control, is very Orwellian and something that everyone can relate to. Nonetheless, our story does have an optimistic twist. What we are saying is that insight into the ways in which the power structures operate and influence our opinions and everyday decisions is all you need in order to free yourself from being PLAYED.”
Trunk’s producer Richard Barnett notes, “To create a well-known classic look, such as a 90’s console game, and to do it with an amount of believability, is always tricky. We used a number of rules and techniques to help us, such as an aged colour palette, balanced pixilation, and we were always very conscious of the audiences point of view when playing those games. We recreated that feel by using a lot of aerial shots that moved through the city and side on fixed shots that we all remember well from playing the games endlessly as kids.”
Richard continues, “as always it was a pleasure to collaborate with Steve and work with the team at Domino, they have to be one of the best Record Companies out there for supporting their artists and the creative community at large. Creative freedom seems to be rare or costly these days, and allowing passion and artistic ideals to flourish is often ironically the first thing to be stamped out on a project, but not this time! We wish the album all the success it deserves, and hope everyone enjoys the vid!
Click below for press coverage :-
Credits :-
Director: Rok Predin
Animation: Rok Predin, Caroline Tarrago, Layla Atkinson, Lesley Dart.
Sound Design: Barnaby Templer @ Fonic
Producer: Richard Barnett
Production Company: Trunk Animation
Commissioner: Jonathan Bradshaw
Record Co: Domino
Happy Christmas
On 16, Dec 2015 | In news / blog | By Layla
We’d like to wish everyone a happy and cake-filled Christmas. Here’s to a fun and interesting 2016!
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:-
Visual Reference for Rattle That Lock
On 11, Aug 2015 | In news / blog | By Layla
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
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.
David Gilmour | Rattle That Lock | Alasdair + Jock
On 31, Jul 2015 | In news / blog | By Richard
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
[email protected]
www.trunk.me.uk
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
SRTW | We Were Young
On 20, Feb 2015 | In news / blog | By Layla
Chuffed to bits! Our music video for @srtwmusic is a Vimeo Staff Pick! Have a watch to kickstart your weekend!
