DANIELS: Weetabix “Dancer”


A cute little girl takes a bite of her Weetabix breakfast. That’s the usual cue to dive into the bowl for a cereal-inspired world of animation for 20 seconds before zooming out to a smiling family and an endtag.

How about, instead, the girl gets out of her chair and takes us on an acid trip dance party with rimlit breaking bears. Yes?

Who is having more fun than DANIELS? No one.



Dir: DANIELS
Agency: BBH London
Prod Co: PrettyBird

Song: “A New World” By Mord Fustang

Creative Director: Dominic Goldman
Choreographer: Omari Carter
Dancer: Arizona Snow
Costume: Mr Gammon
Puppeteers: Matthew Lloyd, Molly Freeman

Posted on Motionographer

Ben Julia: Dove Nets

Updated with Q&A

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A couple of weeks ago I posted a music video by Ben & Julia for The Main Drag’s song ‘Dove Nets’. Ben (Benoît Créac’h) and Julia (Gaudard) started working together in 2006, and recently moved to Berlin.

There are a few things that made me fall in love with this piece: the diverse illustration/design styles, the use of numerous hand-made pieces, but most of all the ‘Berlinesque’ playfulness of it all.  They have really captured the artistic spirit of the city pretty well in this piece. Although they described this project as a sort of celebration of their recent move, I’m sure this wasn’t their primary aim.

I caught up with the duo, and now have the pleasure of sharing some insight behind their production process with all of you. You can also get more info and credit list on the official site of the video here.

1. What was the brief from the record company/band at the start?

The Brief was clear “Do some Ben&Julia’s crazy stuff “. :-)
No seriously, they really trusted us and we were free to do whatever we wanted. So ‘Dove Nets’ ended up as a surrealistic/psychedelic mix media piece.

2. what were your ideas that came up during your brainstorming process?

We were immediately seduced by the concept of a mouse who’s obsessed with doves. At the beginning the goal was to keep everything real simple, because of the budget and time restrictions, but we couldn’t help writing more new ideas, that’s when the talking books, the eyes in the plug (3rd shot), the Dove Robot, came about. We loved the idea of books telling stories without having to be opened and read!

We are mostly inspired by our travels. Also by dreams, childhood memories,  and TV shows. As an example, for this video,
“Téléchat”– a French TV show from the 80’s, was an important inspiration. “The Storyteller” is also one of our favourites.

Another important subject is the metamorphosis, the kind that Ovid spoke about. Something that’s based in mythology rather than in a new vision of ourselves. The poisoning by the cheese alludes to the use of rat poison. It congeals the blood and kills the rat really quickly. That’s an idea that’s been in our sketchbooks for 2-3 years now.

3. what were the most difficult or unexpected challenges you encountered during the production, technical and otherwise?

We put a lot of work in this music video. Everything was hard and challenging : the animated cartoons, sculptures, plaster bandage, books, and the mouse costume whose ears were made of latex. But we also learned a lot out of this, and that’s really valuable to us. When you make an entire video by yourself, the good thing is that inevitably, there would be some sort of an artistic unity, regardless of whether you wanted this or not.

4. Why did you choose this style/aesthetic and this method?

We mixed all the techniques because this was how we found an “equilibrium”. This is how live action, CG, and puppets can coexist. We try to create ‘Universes’ not ‘animation films’. This is our way to change the world we live in, into a better place…at least for 3 minutes :-)

5. Finally tell us a little bit more about your background and the project…

We are Ben (Benoît Créac’h) and Julia (Gaudard). A French/Swiss duo of Art Director/Director.
Julia studied decoration in Vevey (Switzerland), and Graphic Design in Central St Martin’s, London.
Ben studied editing at CLCF and 3D/Special Effects at Isart Digital in Paris, where he also worked as consultant.

In 2006, we started working as a duo, aiming to create something very original out of clever mixes of all sorts of techniques, be it traditional or digital. We are now represented by Stink. ‘Dove Nets’, which took us 3 months to produce, is our second music video, made as a kind of celebration of our recent relocation to Berlin.

Posted on Motionographer

Psyop Delivers for UPS

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Weeks ago, we quickied “Gladiator,” the first of an ongoing campaign for UPS, due to the staggered release dates of the remaining spots. While additional spots are headed our way, shelving “Circus” until then would be a FU to the craft and creativity gods.

Corrugated cardboard, next to clay or pixels, is one of my favorite materials. Its seemingly innocuous appearance can transform into patterns and volumetric structures with a few simple folds, slots and slices. Any shop that manages to infuse human spirit into corrugated cardboard gets major cred from me. In “Gladiator” and “Circus,” Psyop does just this, transforming a bland brand of brown and a non-aesthetic material into a land of lions, elephants, and acrobats.

The charm of hinged puppet characters is met by the team’s technical muscle, layering golden light and atmospheric debris to turn a dull, trash material into treasure.

Watch “Circus”
Watch “Gladiator”


Psyop sheds some light on their process:

The brief from agency was to make worlds out of cardboard that felt simultaneously epic and handmade. We were also given the task of creating characters and environments that looked truly hand crafted with the caveat that everything must always be made of cardboard. We worked collaboratively on a series of scripts in order to finesse the story and craft these worlds.

One challenge we faced was creating a fully cardboard world that could feasibly have been created in a sound stage by stop motion animators. Each character had to be broken apart and looked at from the standpoint that if we were to create this in reality, how would they be built to allow the animators to have the full range of motion required.

We didn’t want the characters to look “CG”, so we tried to not cheat by using tricks in 3D. This forced us to approach character setup with some additional boundaries that in some ways made setup easier, but in others forced to us to become more like mechanical engineers and really focus on the details of believable mechanics.

The geometry we created was also another challenge. 99.9% of the corrugation you see is modeled. We really focused on keeping the details in the model and to not rely on texturing tricks. This posed a challenge for our machines and our modelers. Without running on x64 machines and operating systems we wouldn’t have been able to approach the project this way.

Even still, we pushed Maya to the limits on what it can handle in a scene at once due to our geometry polygon counts being so high. It also pushed how much corrugation our modelers were able to handle before cracking mentally. Giving our geometry a “messed up” look without going too far was also a challenge. If we kept the geometry too clean, it ended up looking too CG.

Psyop Creative Director, Eben Mears, kept referencing lasagna noodles whenever he saw corrugation that was too clean in dailies. On the other hand, if we pushed it too far our cardboard ended up looking like it came out of the garbage so we had to walk a fine line between the two. By keeping these details in the model, we didn’t have to worry about getting nice details in model close-ups, shadow effects, or textural detail in lighting and shading. What we saw is what we were going to get in render, and that allowed us a lot more creativity up front.

As with most projects, the hardest part was fitting an epic tale into 25 seconds. All of the scripts read like short films and we worked hard to tell these stories in a visually powerful way but within a tight time frame. Beyond this, the design of the worlds and characters in each spot was intense.

It’s an interesting struggle to design everything out of cardboard and make it look and feel “real”. Our use of corrugation and texture, plus the thought that went into the rigging of the characters was an epic struggle in and of itself.

Posted on Motionographer