Hasta La Motion!

Looking Thru the B-Sides is a stop-action trip down the rabbit hole that is Golden Lucky’s collective brain. Just watching this short film feels like a mind-altering experience that’s probably illegal in at least 37 states.

What starts as a simple keystone cops premise quickly spins into a tripped out odyssey through colorful landscapes and multiple animation techniques. Despite the visual twists and turns, Looking Thru the B-Sides holds its narrative arc firmly in tact—and that’s what keeps this charmer rolling right along.

The short’s conclusion is as unexpected as the rest of the film and functions as a brilliant neon cherry on top of this electric kool-aid sundae.

Looking Thru the B-Sides was created for Fuel TV, who gave Saiman Chow and the rest of the Golden Lucky crew a wide open brief. Kudos to them for supporting such a fun project.

Head over to the Golden Lucky site for some nice process imagery.

Produced & Directed by Golden Lucky

Producers
Mark Groeschner
Josh Libitsky
Jennifer Brogle-Jones

Lead Animation (Stop Motion)
Chad Colby
James Dunlap

Animation (2D)
Joe Vaccarino
Chad Colby
Sean Dougherty
Saiman Chow

Compositing
Joe Vaccarino
Chad Colby
Ken Edge

Cell Animation
Jonathan Trueblood
Albert Chow
Saiman Chow

Production Assistants
Alexandra Elmquist
Dylan Thuras
James Bollenbaugh

Set/Prop Production
Albert Chow
Peter Schmitt
James Dunlap
Dan Waller
Saiman Chow
Sean Dougherty
Chad Colby
James Bolenbaugh
Patricia Burges
Evelyn Lee

Puppet Wardrobes
Julie Ho
Nick Anderson

Puppet Fabrication
Peter Erickson
James Dunlap

Costumes
Suzanne Couture

Editor
Eli Mavros

Storyboard Artist
Wes Simpkins

Talent
Jennifer Brogle-Jones
Jason Jones

Intern
Alexandra Elmquist

Special thanks to:
Kevin Robinson, Dennis Go, Josh Libitsky

For FUEL TV
CJ Olivares: SVP & Asst GM
Jake Munsey: VP Marketing & Promotion
Todd Dever: Creative Director

Special Thanks to
Andrew Hale
Joyce Lee
Mary Traina
Li Han Lin
Dennis Go
William Ismael

Music by
Freefarm (Simon Pyke)
& (final scene) by xmassound (Christmas Jang)

Posted on Motionographer

Last week I posted this cute little spot directed by Andy McLeod from London-based Rattling Stick. I finally managed to get my hands on some behind-the-scenes-info, and there’s a fair bit of really delightful facts here:

1. What was the agency’s initial brief?

‘Be Natural’ is a juice made entirely of natural ingredients. So the basic thought was that if Nature itself (here represented by the bird) could choose a juice, it would be Robinson’s ‘Be Natural.’

2. Describe the production process—what happened next?

The agency wanted everything to be done as ‘naturally’ as possible, to reflect the nature of the product, and I felt that was absolutely the right way to go about it as well. Pretty much everything you see on screen was done for real, in-camera, with as little CG and post as possible. It was hard work, but I think this made it more controllable, and more fun.

We had a bird trainer train six identical birds to do various set of actions. One was good at picking up the wooden toy and putting it in the basket, another was good at turning on the TV, another was good at going over to the fridge, and so on.

3. How did you get the bird to perform various actions? Tell us a few tricks to make it all look so believable!

The key to the trick was birdseed. To get the bird to ‘turn the TV off,’ you put a seed on the remote control, the bird then pecked it off, and you remove the seed in post later on. We also shot a real TV remote, scaled it down, and placed it over our miniature TV remote in post. Similarly with all the other actions: to get the bird to look at the TV screen, you place the seed just above the it, and so on.

We shot multiple takes of each action, picking the best bits out of them. It’’s a more painstaking process than it looks on paper, and it took the trainer a couple of weeks to get the birds to do it.

4. Tell us more about the environment–was it all miniature?

Yes. We had a great production designer who designed the interior–we wanted it to be impressive, and tardis-like. Then we spent a lot of time working out the right dimensions of objects within the birdhouse, to get the scale right, and even more time building the whole set, so it looked absolutely real.

5. And how did you shoot it all?

The size of the birdhouse was approx. 10 square ft. We placed four mini HD cameras strategically around it, to capture the action from several different angles.

6. My favorite was the human cuckoo clock idea. How did it came about?

Well, we wanted the spot to have plenty of repeat-viewing value, so we built lots of little jokes into our set, and the cuckoo clock was one of them. That sequence also worked as a time-filler, between the bird going to the fridge, and sitting at the table for tea, because there was no way we could get it to set the table or pour the juice out.

Some of the other ‘jokes’ are: worm sausages, family portraits, bird news featuring a police arrest photo of a cat, bird-shaped wellies (waterproof rubber boots–ed) by the door, a stag beetle’s antler trophy, and a ‘Tweet’ Magazine.

7. That’s fantastic! Lastly, are there any other particular aspects of the spot that you paid special attention to?

I was keen for the bird to have ‘human’ traits, seeing as it’s already got a ‘humanistic’ apartment. So we spent lots of time at the sound studio trying to get the bird’s chirping to sound like human expressions: annoyance at having to tidy up, shock at the news story, giggling at tweet magazine, whistling along to the music. I think in the end there was a fair bit of my whistling blended into real bird sounds to get the desired effect!

Posted on Motionographer