By Randi Altman
All creative studios strive for creative ways to show off their talent and offerings, and London-based Aardman is no exception. Famous for its stop-motion animation work (remember the Wallace and Gromit films?), this studio now provides so much more, including live-action, CG, 2D animation and character creation.
In order to help hammer home all of their offerings, and in hopes of breaking that stop-motion stereotype, Aardman has created a satirical short film, called Visualize This, depicting a conference call between a production company and an advertising agency, giving the studio the ability to show off the range of solutions they can provide for clients. Each time the fictional client suggests something, that visual pops up on the screen, whether it’s adding graffiti to a snail’s shell or textured type or making a giant monster out of CG cardboard boxes.
We reached out to Aardman’s Danny Capozzi, who directed the short, to find out more about this project and the studio in general.
How did the idea for this short come about?
I felt that the idea of making a film based on a conference call was something that would resonate with a lot of people in any creative industry. The continuous spit balling of ideas and suggestions would make a great platform to demonstrate a lot of different styles that myself and Aardman can produce. Aardman is well known for its high level of stop-motion/Claymation work, but we do CGI, live action and 2D just as well. We also create brand new ways of animating by combining styles and techniques.
Why was now the right time to do this?
I think we are living in a time of uncertainty, and this film really expresses that. We do a lot of procrastinating. We have the luxury to change our minds, our tastes and our styles every two minutes. With so much choice of everything at our fingertips we can no longer make quick decisions and stick to them. There’s always that sense of “I love this… it’s perfect, but what if there’s something better?” I think Visualize This sums it up.
You guys work with agencies and directly with brands — how would you break that up percentage wise?
The large majority of our advertising work still comes through agencies, although we are increasingly doing one-off projects for clients who seek us out for our storytelling and characters. It’s hard to give a percentage on it because the one-offs vary so much in size that they can skew the numbers and give the wrong impression. More often than not, they aren’t advertising projects either and tend to fall into the realm of short films for organizations, which can be either charities, museums or visitor attractions, or even mass participation arts projects and events.
Can you talk about making the short? Your workflow?
When I first pitched the idea to our executive producer Heather Wright, she immediately loved the idea. After a bit of tweaking on the script and the pace of the dialogue we soon went into production. The film was achieved during some down time from commercial productions and took about 14 weeks on and off over several months.
What tools did you call on?
We used a large variety of techniques CGI, stop-motion, 2D, live action, timelapse photography and greenscreen. Compositing and CG was via Maya, Houdini and Nuke software. We used HDRI (High Dynamic Range Images). We also used Adobe’s After Effects, Premiere, Photoshop, and Illustrator, along with clay sculpting, model making and blood, sweat and, of course, some tears.
What was the most complicated shot?
The glossy black oil shot. This could have been done in CGI with a very good team of modelers and lighters and compositors, but I wanted to achieve this in-camera.
Firstly, I secretly stole some of my son Vinny’s toys away to Aardman’s model-making workshop and spray painted them black. Sorry Vinny! I hot glued the black toys onto a black board (huge mistake!), you’ll see why later. Then I cleared Asda out of cheap cooking oil — 72 litres of the greasy stuff. I mixed it with black oil paint and poured it into a casket.
We then rigged the board of toys to a motion control rig. This would act as the winch to raise the toys out of the black oily soup. Another motion control was rigged to do the panning shot with the camera attached to it. This way we get a nice up and across motion in-camera.
We lowered the board of toys into the black soup and the cables that held it up sagged and released the board of toys. Noooooo! I watched them sink. Then to add insult to injury, the hot glue gave way and the toys floated up. How do you glue something to an oily surface?? You don’t! You use screws. After much tinkering it was ready to be submerged again. After a couple of passes, it worked. I just love the way the natural glossy highlights move over the objects. All well worth doing in-camera for real, and so much more rewarding.
What sort of response has it received?
I’m delighted. It has really travelled since we launched a couple of weeks ago, and it’s fantastic to keep seeing it pop up in my news feed on various social media sites! I think we are on over 20,000 YouTube views and 40,000 odd views on Facebook.