Production Company

Trunk Animation

Rok Predin at Trunk Animation has created a vibrant, psychedelia-tinged animated video for Beatles' classic Here, There And Everywhere - the fourth that Trunk has created for the Fab Four in as many years, this time to coincide with&nbsp;the re-release of the monumental Revolver album.Predin's video employs rotoscoping of classic Beatles footage from the mid-Sixties period when the album was recorded, supplemented by newly created 3D imagery of the band, and outlines a story of how the Fab Four's final days as a touring outfit before heading into the studio, through a series of wonderfully delineated sequences that also nod stylistically to the iconic cover of Revolver.&nbsp;[imgtoken data:1]The starting point for the making of the Here, There And Everywhere video was Paul McCartney, briefing Trunk on&nbsp;how much he always loved the visuals of the rotoscoped dancers from the Lucy In The Sky With Diamonds section of Yellow Submarine, beautifully art directed by the late Heinz Edelmann. He also wanted to take the viewer on a journey of The Beatles world tour.&nbsp;Two obstacles stood in front of the Trunk team: a limited amount of useable footage for the rotoscoping technique, and the 6 weeks until&nbsp;delivery.&nbsp;With limited footage to rotoscope, and a yet a big story to tell, the team had to come up with a way to re-create a rotoscoped look for some of the most recognisable faces in music history and fit them in with the existing archive footage. Having hit upon the idea of using 3D versions of The Beatles to fill the gap, they discovered that there was hardly anything in existence which were realistic, as opposed to caricatured versions of the band.&nbsp;“What we needed was a convincing 3D sculpt of each of the band,&nbsp;so that we could animate them, and then treat them in the same way that we would treat the live action footage,” explains Predin, who has previously worked with the likes of Elton John, The Rolling Stones, and U2.&nbsp;Thankfully it turned out that Apple Corps own archive held everything that was useable.&nbsp;[imgtoken data:2]Using the references from the extraordinary archive, modeller Omar Lawal set about sculpting the band over a couple of weeks, before Alan Towndrow got to rigging. Animator Alex Watson then put the characters into testing and we were able to get the comp team their first look at the raw materials. Rok led the compositing and tried numerous ways of recreating the rotoscoped look the team had originally provided as a test.&nbsp;Ultimately, by using a multitude of processes, he managed to recreate the line work that was coming from the rotoscoping.“We were always confident that we could recreate the look," he notes. "But nowadays these things come down to a near mathematical formula, finding just the right levels of multiple effects, and balancing their outputs”. This technical R&amp;D just opened&nbsp;the first door to the most important part - telling&nbsp;the story. Rok and producer Richard Barnett had both watched Peter Jackson's amazing ‘The Beatles: Get Back’ documentary,&nbsp;and reminded themselves of Ron Howard's 2016 doc ‘Eight Days a Week - The Touring Years’.[imgtoken data:3]"Watching that again really reminds you of what those four guys went through, what the music meant to so many people, and what they were doing in the world at that time, which was a complete revolution," says Barnett.&nbsp;"I remember a clip of George saying that 'I always felt sorry for Elvis 'cause he was on his own. He had his guys with him, but there's only one Elvis. Nobody else knew what he felt like.' At least the band had each other. And that was a point that really hit home for us.” Rok encapsulates that emotion in a poignant section in the video showing the four of them gathered around a table in a hotel suite as the environment around them constantly changes reflecting their physical journey from New York to Tokyo via Paris, Sydney and Rome. The cityscapes were superbly drawn by Sara Savelj. Revolver&nbsp;changed everything - for the band and for pop music.&nbsp;To reflect that,&nbsp;the video uses a stunning colour palette that, whilst harking back to 1960’s psychedelia, is firmly rooted in the 21st century. Rok says:&nbsp;“Visual language is a contemporary interpretation of styles from the past using new technologies, complementing the sonic transformation that the song Here, There and Everywhere has undergone for the new release of Revolver.”[imgtoken data:4] It was important for Rok to capture the hard slog that being on tour can be, and what keeps you going whilst away. He talks from experience as he toured the former Yugoslavia playing in his dad's rock band back in the late 90's.“We imagined the love that you've left behind, in the video this developed into this magical dancer animated by Eamonn O’Neill that each of the band see separately, before realising they are all seeing her together," says Predin.&nbsp;"The dancer is the colour, the light, and the inspiration that keeps them going, and once back in the UK, she disperses into Abbey Road studios, representing the bands renewed enthusiasm for their music, but also the end of touring.”&nbsp;Alongside Jonathan Clyde at Apple Corps the Trunk team have previously worked on the re-release of The White Album,&nbsp;producing videos for Glass Onion, Back in the U.S.S.R., and then Here Comes The Sun&nbsp;from Abbey Road. Those three stunning videos continue to rack up views in the millions and there is every hope that Here, There and Everywhere,&nbsp;commissioned by Sophie Hilton at Universal, will follow suit. Producer Richard notes: “When I sat revising for my exams back in 1996, I never thought that 26 years later we would have produced 4 music videos for the very tracks I was listening to.”&nbsp;

United Kingdom

Rok Predin

Richard Barnett

Sara Savelj Predin

Omar Lawal

Alan Towndrow

Alex Watson

Eamonn O'Neil

Layla Atkinson

Leslie Dart

Roto

Adrian Winter

Aaron Bremner

Jonathan Clyde

Apple Corps

Sophie Hilton

Universal Music

Rock

The Beatles 'Here, There And Everywhere' by Rok Predin

The Beatles - Here, There and Everywhere

Having won acclaim with McQueen, their documentary about the iconoclastic fashion designer Alexander McQueen, Ian&nbsp;Bonhôte and Peter Ettedgui's follow-up project is Rising Phoenix, a wide-ranging and powerfully emotive history of the Paralympics, now screening on Netflix.&nbsp;<a href="https://www.netflix.com/title/81122408">Rising Phoenix</a> charts how the Paralympics - founded in London after the Second World War&nbsp;- sparked a global movement which continues to change the way the world thinks about disability, diversity and human potential. The film also features the personal stories of several athletes who have competed at recent Paralympic Games.&nbsp;&nbsp;With an original soundtrack by Daniel Pemberton, the directors have now assembled a lyric video for the track Pemberton created with the Krip Hop Nation&nbsp;- a group of rappers who all have disabilities - which features in the documentary, over the end titles. Using footage from the movie, the lyric video was put together using footage from the movie, with titles and additional material created by Trunk Animation.We spoke to Ian Bonhôte about Rising Phoenix and the video. Firstly asking him about how he and&nbsp;Ettedgui came to choose this project as their follow-up to McQueen.[imgtoken data:1]Above: Australian swimming Paralympian&nbsp;Ellie Cole, featured in 'Rising Phoenix'Why did you choose Rising Phoenix as your follow-up to McQueen?&nbsp;Ian Bonhôte: Peter and I wanted to do something as far away from fashion as possible. You know the usual stereotyping… Everyone came to us about fashion projects and biopics, even in fiction. It is not that we are against it but wanted to stretch our narrative and visual muscles in a different direction.So John Batseck (producer of Searching for Sugarman, One Day In September, The Imposter) contacted us about a project on the Paralympic Movement. The project was very ambitious. John and fellow producer Greg Nugent who had worked as marketing director of London 2012 Olympics and Paralympics wanted to make a definitive film about this amazing story and furthermore tackle the issue of civil rights for anyone living or being born with a disability.They sent us a small teaser and we fell in love with the moment, with the origin story of a Jewish German refugee Doctor Ludwig Guttman (Sir in his later years) surviving and escaping the Nazi regime to be given a second chance in Britain and literally through a special rehabilitation treatment transforming the lives of many people with spinal cord injuries (many soldiers during WW2 would be left to die if they had spinal cord injuries).<blockquote>We wanted to introduce our hero Paralympians and their personal stories as well as tell the story of the movement.</blockquote>Then we looked at some athletes stories and their achievements, and that was it. We were not going to let go of this story. It is so unknown and one of the greatest British and Human kind success. The Olympics and its achievement is ridiculously shallow in comparison to the Paralympics and its impact on our society, and still most people don’t know.On the face of it, McQueen and Rising Phoenix&nbsp;seem very different projects. Were there any similarities?IB: You're right, they are polar opposite in terms of the narrative. McQueen is about one man and his creative output; Rising Phoenix is about a movement that's been going since 1948, with thousands of potential lead characters.&nbsp;So it was a massive challenge in terms of how to structure the narrative and the emotional points. Though, every time we talked to someone we were either in tears or laughing or angry. And I believe in emotions above all else. As filmmakers it is our duty to make the audience feel, whatever - fear, pleasure, laughs... and in this case everything was about emotion.But the similarities I think was in our aesthetical approach and our respect/love for our subjects. Once again we worked with Time Based Arts to create, photorealistic visuals.&nbsp;It's fascinating to look back through Art history and to realise that no subject with a disability were ever painted or sculpted properly. If you had someone missing a leg or arm or any sort of disability, the person would be a beggar. Anyone who knows me won't be surprised that I got obsessed and way too angry about it. So with Mike and the Team we decided to change that forever.[imgtoken data:2]Above: US archery Paralympian Matt Stutzman, featured in 'Rising Phoenix'We decided to create our own celebratory statues of the Paralympians and show off our amazing athletes at the peak of their abilities! Nothing better than turning the wrongs into rights. I am just so excited by how this period of time right now in human history is finally putting Women, Black, Asians, Disables, Small, Big, Gay, Lesbian or anyone in between at the forefront of Visual representation. By doing so we are completely changing the world forever and it gets me high, cause it comes from all over and won’t be stopped ever.Sorry, always gets me pumped to see the world change despite the mainstream media and journalism always trying to scare us but so many amazing people and battles are being fought. It is fucking inspiring and for me Rising Phoenix was my own little battle!<blockquote>One thing that jumped out was this constant struggle of the Paralympic movement - always 'One Good Game/One Bad Game'</blockquote>What was the biggest challenges of telling the story of the Paralympics since its foundation in 1948?&nbsp;IB: To keep the emotional through-line! It is really easy to fall into creating an information piece about all the events and amazing people which are or have been part of the movement. But we always wanted to make a cinematic experience for the audience though the timespan is so big as well as the number of characters.But one thing that jumped at us was this constant struggle of the Paralympic movement. It is always 'One Good Game/One Bad Game'. So, for example,&nbsp;Barcelona in 1992 was a success; then Atlanta in 1996 was a disaster - no audiences, they were dismantling the event as the Paralympians were competing because they care so little about Para sports. We knew the London 2012 had been the greatest game ever organised and then Rio 2016, the Rio Committee was stealing money and almost canceled the games!&nbsp;Then we decided to concentrate our contemporary story on those two events and create a sort of “race against time” from three of our protagonists - leaders of the movement at the time -&nbsp;to save the games in Rio.[imgtoken data:3]Above: Australian rugby Paralympian&nbsp;Riley Batt, featured in 'Rising Phoenix'With this present day structure we then wanted to introduce our hero Paralympians and their personal stories as well as the origin story of the movement in flashbacks and flash forwards. We used themes or countries or time periods or games themselves to create segways into the athletes' personal stories, or to jump forward or backward. It was a bit of a mind fuck but we always kept it very emotional. So in the end we feel the audience is on one single journey, despite having absorbed so much details. Focussing on the stories of selected athletes, as well as the history of the Paralympics, gave you visible Heroes who you capture in some great action sequences. Who are the athletes featured in the film, and the lyric video?IB: We had a cast of nine&nbsp;athletes we focused on: Bebe Vio (Italy/wheelchair fencing), Jean-Baptiste Alaize (French/long jump), Tatyana Macfadden (USA/wheelchair racing), Ellie Cole (Australia/swimmer), Chui Zhen (China/weightlifting), Ryley Batt (Australia/wheelchair rugby), Ntando Malangu (South Africa/runner), Jonnie Peacock (UK/runner) and Matt Stutzman (USA/archer).Our cast of Heroes allowed us to harness visually their amazing achievements but as well to delve emotionally into their personal stories. We uncover tragedies as well as humourous moments. It was essential for us to create a face to the movement and not just talk metaphorically of how the movement changes lives on the sporting stage but in the stand as well.<blockquote>Daniel wanted to create an anthem which echoed the soundtrack, but in terms of the message was true to the film.&nbsp;</blockquote>The action sequences are counterpointed with sculptures of the athletes. Who made the sculptures, and what are their significance in the film? &nbsp;IB: Sorry&nbsp;I already went on earlier about the amazing Time Based Arts team -&nbsp;Mike, James, Simone, Tom, Stephen and everyone else there. They are just so good and passionate; I love them. We have known each other for so long now.Regarding the meaning, it truly comes from this angry place inside when you see something wrong and you obsess and you want to scream super loud to the society about looking around and not to ignore our people, whatever they look like or whatever you think they are able to achieve. This film taught me to keep on ignoring everything I think I know and keep my eyes and mind open.[imgtoken data:4]Above: French long jump Paralympian Jean-Baptiste Alaize, featured in 'Rising Phoenix'Music was important in McQueen and again on Rising Phoenix - but this time with an original soundtrack by Daniel Pemberton. When did he come on board and what kind of brief did you give him for the project?&nbsp;IB: Daniel never really came on board; he just could not get rid of us! We approached him really early on and he was mad busy on Birds Of Prey and The Trial of the Chicago 7. And then every other day&nbsp;there are these two muppets at his doorstep&nbsp;begging him to do the soundtrack on their small little documentary, while he was taking phone calls from Spielberg and Sorkin.&nbsp;So he took pity!&nbsp;No, I think we showed him five minutes of different sequences and he loved our non-apologetical approach and a little Fuck You attitude.&nbsp;By the way all his soundtracks this year are shortlisted or longlisted for the Oscars, Baftas, Golden Globes… He is nominated for Composer of the Year! He is truly an amazingly talented and such a nice person. We knew each other from our club days in the late 90s. Daniel was DJing at some nights where I was projecting my visuals when I first moved to London, scraping a living in the club scenes from the Blue Note to the 333 in Hoxton. He was part of the magazine Shoreditch Twat, which gave the name to the lovely people moving to Shoreditch at the time… Me included, by the way.<blockquote>This film taught me to keep on ignoring everything I think I know and keep my eyes and mind open.</blockquote>His collaboration with the members of Krip Hop Crew provides the music for the end titles of the film. How did that collaboration happen?IB: The producers were throwing lots of famous artists names at us and we always felt it was the wrong approach. Daniel wanted to create an anthem which musically echoed the full soundtrack but in terms of the message was true to the film.&nbsp;In our research we came across the Krip Hop Nation crew, which is made of lots of different artist all around the US living with a disability. So with Daniel we approached them, to collaborate. They said 'yes' right away. So Toni Hickman, Keith Jones and George Doman worked closely with Daniel who would compose the track as they were writing the lyrics. It was a lot of back and forth and tweaking but I know Daniel is super proud, us too!Daniel actually rerecorded a lot of the instruments in the soundtrack with live musicians and most of them with a disability. It was an essential part of the film. We had over 16% of all crew members and team in the office with a disability which is a higher percentage of the section of the world's’ population living with a disability: 15%![imgtoken data:5]Above: US wheelchair racing&nbsp;Paralympian&nbsp;Tatyana MacFadden; and below: Italian wheelchair fencing Paralympian&nbsp;Bebe Vio Was making a music video for the track with existing footage an easy decision? Did that give you a chance to rework and edit the ‘hero’ footage in a new way?IB: It was the only solution as when you make a feature film, you need to keep in consideration all the right holders/distributors. We needed a sort of teaser piece though strong enough to do justice to the track as well as whet the appetite of a potential audience. Trunk Animation did most of the work as we were still in the midst of the film and its release. They did a fantastic job. It is classy as well as impactful. I love the video. How does the music video showcase the film and underline the theme and values of the film?IB: Basically working with Krip Hop Nation, was the perfect match. As each of the artists have a lot to say about overcoming injustice, prejudice and fighting to be accepted and recognised for their work. It echoed perfectly some of our athletes' personal journeys. Furthermore, the texture of their voices is slightly altered or heavily changed due to their disability BUT it just makes it even stronger. Hip Hop is about finding the flow/the delivery. So each of them - Toni, George and Keith - are so unique. It is special.It's depressing to think that in the 21st century we still face racism, gender inequality, homophobia and more. But facing the worst is anyone living with a disability. Many countries do not acknowledge their community. They don’t exist and are left to fend for themselves in many cases ending up in precarious situations. So for me, making a film about Para Sport, and&nbsp;being able to draw in many other themes and issues, such as exclusion, racism, apathy, discrimination, in a subtle but hard and longlasting way was essential. The track embodies it perfectly.• Rising Phoenix is a Netflix Original Documentary, screening <a href="https://www.netflix.com/title/81122408" target="_blank">now</a>

Ian Bonhôte

Peter Ettedgui

Time Based Arts

Misfits Entertainment

Will Pugh

Krip Hop Nation & Daniel Pemberton 'Rising Phoenix' by Ian Bonhôte & Peter Ettedgui

RISING PHOENIX | OFFICIAL LYRIC VIDEO | Netflix

Paul Woolford&#39;s banging house track gets a mesmerizing visual-cum-lyric video by Layla Atkinson at Trunk Animation, combining&nbsp;stock footage with hand-crafted typography for the words.&nbsp;Atkinson gets into the mindset of the song with a contrast between black and white &#39;city&#39; footage - implying the confining mature of day-to-day life - with the expressive colour and beauty of the natural world.And with the song&#39;s much-repeated lyrical message, that allowed the director to&nbsp;spend time creating each word by hand: each line is created from a stencil that created many copies of the word, each coloured with sponged paint. The copies were then looped, resulting in the finished, uniquely colourful lyrics.

Danielle Barnes

Spinnin' Records

Dance

Paul Woolford 'Hang Up Your Hangups' (Camelphat Remix) by Layla Atkinson

Paul-Woolford-'Hang-Up-Your-Hangups-(camelphat-Remix)'-by-Layla-Atkinson

Trunk directors Alasdair + Jock have created a video for The Beatles&#39; Glass Onion, a fabulous mixed media work that celebrates the Fab Four at the time of the creation of The White Album, which celebrates its 50th anniversary this&nbsp;month.This vibrant piece utilizes existing footage of the band, circa 1968, in a way that reflects the decision-making process that led to the artwork of the album itself, through the eyes of artist Richard Hamilton (who created the famous all-white cover of The Beatles, the album&#39;s official title) and Paul McCartney. As the track plays, images are added and removed, elements are coloured and manipulated, film footage is run and spliced, and drawn elements are brought to life.&nbsp;Alasdair and&nbsp;Jock Mooney, together with producers&nbsp;Richard Barnett and Layla Atkinson, were given access to&nbsp;both Apple Corps Ltd.&rsquo;s archive and Paul McCartney&rsquo;s personal archive. They have included images, and footage from Beatles&#39; promos made at the time, to tell the stories behind the creation&nbsp;and distribution of the album, as well as images that reflect John Lennon&#39;s self-referencing&nbsp;lyrics to Glass Onion.And the team have&nbsp;used a plethora of techniques &ndash; stop motion, live action, hand drawn 2D on paper, 3D modelling, scratch film, rostrum cut out replacements, pixilation, hand painted artworking, plus motion control -&nbsp;to bring the piece alive.[imgtoken data:1]

Alasdair Brotherston

Jock Mooney

Pete Ellmore

Undefined

Universal

The Beatles 'Glass Onion' by Alasdair + Jock

The-Beatles-'The-Beatles---Glass-Onion-(2018-Mix)'-by-Al-&-Jock

Two of Trunk&#39;s directors team up to collaborate for the first time here for the 25th anniversary of Julian Lennon&#39;s Saltwater.Using a combination of illustrations, textures, scanned photographs, vector graphics and 3D models, this psychedelic collage that follows a young woman too distracted by her phone to notice the world around her (both the good and the bad), adding a new layer to the song&#39;s message of conservation.With subtle nods to past events (and even a Beatles reference or two) thrown into the mix, the video&#39;s journey is one to pay close attention to.&nbsp;

Simona Ciraolo

Mehmet Ulusahin

Dick Carruthers

Julian Lennon 'Saltwater 25' by Layla Atkinson & Jock Mooney

Julian Lennon - Saltwater 25

Layla Atkinson and her team at Trunk have created an impressive labour of love for folk legend Shirley Collins&#39;s Pretty Polly.Shot on film over two days with a locked-off camera and no edits or cutaways (during the hottest September weather for a century), this handmade piece of puppetry has too many moving parts to comprehend. A wonderfully authentic feeling handmade show with painted sets, creative use of lighting and charming use of traditional &#39;Jig Doll&#39; puppets. And that&#39;s perfect for Collins&#39; version of an 18th century ballad from the Appalachians.<a href="https://vimeo.com/185965429">As this behind the scenes video illustrates</a>, Atkinson and her team have delivered a very complex piece of work, and yet made it look so simple.[imgtoken data:1]

Bart McDonagh

Jonathan Yates

Adam Bell

John Harmer

Rebecca Manley

Jonny T at Glassworks

Folk

Shirley Collins 'Pretty Polly' by Layla Atkinson

Shirley Collins | Pretty Polly

Trunk Animation are certainly no strangers to live visuals. With a list of previous clients including Elton John, Take That, Coldplay and Madness (for the Queen&#39;s Jubilee at Buckingham Palace, no less) you&#39;d be forgiven for wondering where they go from here. Well, the answer is Electronic Dance Music.&nbsp;Director Rok Predin and his team have grabbed the bull by the horns and here with some high-energy acid house inspired visuals for Dutch EDM stars&nbsp;Bingo Players for their US tour. Incorporating the Bingo Players&#39; colourful logo into the concept, the visuals have been dubbed &#39;Yellow Takeover&#39; and cycle through various distinct and intense styles, all meant to be melted into one cohesive, unique performance by Bingo Players&#39; very own VJ.Jumping from Pop Art, to archive news footage and trashy 80s MTV-style idents to 3D melting pots of yellow digital terrain, it&#39;s a trip just to sit and watch them at home.

Pablo Balderas

Ted Lovett’s Studio

Bingo Players 'Yellow Takeover (Live Visuals)' by Rok Predin

Bingo-Players-'Trunk-Animation’s-Rok-Predin-Creates-A-Stunning-Visual-Library-For-Bingo-Players-Vj-Pat-Jagla.'-by-Rok-Predin

Film director Peter Baynton&nbsp;has delivered&nbsp;this marvellously&nbsp;tender music&nbsp;video for American songwriter and playwright Benjamin Scheuer&rsquo;s song Weather the Storm, his third&nbsp;collaboration with the artist.&nbsp;The song is&nbsp;from&nbsp;Scheuer&#39;s&nbsp;highly-acclaimed theatre show&nbsp;The Lion, an autobiographical one-man musical that has won numerous awards including Best New Musical at London&rsquo;s Off-West End Awards and a Drama Desk Award for Outstanding Solo Performance in New York. The video&nbsp;follows Dickie, a recent widower on his quest for self-reliance&nbsp;who has run out of toothpaste. Peter explained, &ldquo;the song contains a theme and a message that is universal. Initially we thought we&rsquo;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.&rdquo; The team at Trunk used&nbsp;TV Paint&nbsp;for the drawn character animation,&nbsp;which was the only digitally created element in the video,&nbsp;and&nbsp;After Effects&nbsp;for compositing.&nbsp;Using watercolours to produce cubist forms, the finished video - which took nine months to complete&nbsp;-&nbsp;is beautiful&nbsp;in both heart and design.&nbsp;Trunk&rsquo;s executive producer Richard Barnett notes, &rdquo;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.&rdquo;

United States

Peter Baynton

Daniel Negret

Benjamin Scheuer

Radish Pictures

Alex Potts

Ismael Sanz Pea

Teddy Hall

Reg Isaac

Rachel Calinan

Claudia Chircop

Théo Gremillet

Emily Knight

Clélia Leroux

Philip Davies

Fonic

Marty O'Brien

Barnaby Templer

Singer-songwriter

Benjamin Scheuer 'Weather The Storm' by Peter Baynton

"Weather The Storm" by Benjamin Scheuer

Director Rok Predin at Trunk has animated Scottish artist&nbsp;Steve Mason&#39;s second single Alive&nbsp;from his&nbsp;third solo album Meet the Humans. &nbsp;The video is a homage to 1990&rsquo;s video-gaming, but&nbsp;rather than employing&nbsp;the iconic platform style as seen in Trunk&rsquo;s recent video&nbsp;for Blur&rsquo;s <a href="http://www.promonews.tv/videos/2015/06/05/blur-ong-ong-tony-hung" target="_blank">Ong Ong</a>,&nbsp;Rok adopted the isometric look of early 16-bit video games such as Street Fighter and Sim City, &nbsp;lovingly&nbsp;recreated&nbsp;using Cinema 4D and After Effects.The song&rsquo;s theme drove the concept of the video, which sees a&nbsp;game in which each character is held in&nbsp;stasis by a virus that hovers over them. To break free, the characters first need to understand what is keeping them captive wearing&nbsp;a pair of glasses that reveal the virus, before&nbsp;having a big,&nbsp;all out scrap!&nbsp;Trunk&rsquo;s producer Richard Barnett notes, &ldquo;To create a well-known, classic look, such as a 90&rsquo;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.&rdquo;

Jonathan Bradshaw

Domino

Caroline Tarrago

Lesley Dart

Fonicart

Alternative

Steve Mason 'Alive' by Rok Predin

Steve-Mason-'Trunk-Animation’s-Rok-Predin-Creates-A-‘controlled’-Music-Video-For-Steve-Mason.'-by-Rok-Predin

Trunk&rsquo;s director Junior Martinez directs a wonderfully unsettling video for Solomon Grey&#39;s Sweet 84, a track from the&nbsp;debut album that was inspired by the childhoods of the band&#39;s two members Joe Wilson and Tom Kingston.Barcelona-based Martinez approaches the world&nbsp;from the point of view of a small girl, and one level presents an innocent world of toys and play. But there&#39;s also an ever-increasing sense of unease, created by gradual inclusion of real life war footage, as seen on TV.The video was filmed over two days, the first on set in the mountains overlooking Barcelona, and the second in the streets of the city itself. Martinez&nbsp;used the depth of field, palette, and colour grade, to play and build on the suspense that lives within the action, playing with this suggestion of danger and threat, rather than showing anything overtly dangerous.&nbsp;Trunk&#39;s executive producer Richard Barnett worked with Spanish producer Mireia Jordán to help put the team together, including DoP Jon D. Dominguez, who Junior has worked with on a number of projects.&nbsp;&ldquo;The team were amazing and worked so hard to achieve Junior&rsquo;s vision, it was an absolute pleasure to work with them, and I can&rsquo;t wait to do it all over again!&rdquo; says Barnett.Wilson and Kingston, who in their incarnation as&nbsp;composers created the soundtrack for the BBC and HBO adaptation of JK Rowling&#39;s The Casual Vacancy, have said: &quot;When we were writing Sweet 84 we got obsessed with our childhoods and the memories we still held onto: our parents watching the news, being held up on their shoulders, falling asleep in the back of the car and being carried into bed while sleeping &ndash; becoming aware of the wider world and its enormity.&ldquo;[Junior] has done a great job of bringing to life what was in our heads when we wrote the track. It mirrors a lot of what our own children&#39;s experiences must be now, and what they must be taking in from the world around them.&quot;&nbsp;

Junior Martinez

Mireia Jordán

Lucia Alemany

Jon D. Dominguez

Nathan Grimes

Heura Marimon

Http://www.bobochoses.com

Melissa Arjona

Cynthia Lowe

Decca

Solomon Grey 'Sweet 84' by Junior Martinez

Solomon-Grey-'Sweet-84'-by-Junior-Martinez

Having excelled with their lyric videos for the likes of Rolling Stones, Vampire Weekend and Lily Allen, Trunk Animation have been called upon to create one for Kylie&#39;s cover of Yazoo&#39;s Only You - which became a Christmas No. 1 for The Flying Pickets in the early Eighties &ndash; from her new Christmas album.&nbsp;But rather than making it text-heavy, director Layla Atkinson&nbsp;has taken a more pared-back approach. If the Flying Pickets accapella version was unusual at the time, the surprise here is that Kylie is duetting with James Corden - now a chat show host in the US.&nbsp;Using After Effects Layla concentrated on animating two simple star elements that represented Kylie and James.The stars&#39; journey conveys the relationship of the two performers captured in the duet, and a&nbsp;simple typeface keeps&nbsp;the focus of the video on their interaction, rather than solely on the text. And it all feels perfectly festive.

Andrew J Law

Parlophone

Kylie Minogue ft James Corden 'Only You' (lyric video) by Layla Atkinson

Kylie ~ Only You

David Gilmour&#39;s new single Rattle That Lock has been paired with this epic animated music video,&nbsp;the&nbsp;result of a fruitful&nbsp;collaboration between legendary creative&nbsp;director and graphic designer&nbsp;Aubrey Powell of&nbsp;Hipgnosis and&nbsp;directors&nbsp;Alasdair + Jock&#39;s&nbsp;team at Trunk Animations.Aubrey Powell and the&nbsp;late&nbsp;Storm Thorgerson formed the art design group Hipgnosis in&nbsp;1968 and are responsible for some of the most creative, evocative and iconic&nbsp;album covers in the history of&nbsp;Rock,&nbsp;creating game-changing artwork for the likes of&nbsp;Led&nbsp;Zeppelin, Paul McCartney, Peter Gabriel, Black Sabbath, 10CC, and Pink Floyd.&nbsp;David Gilmour,&nbsp;singer, songwriter and virtuoso guitarist as well as&nbsp;a&nbsp;core member of Pink Floyd, has&nbsp;forged a strong creative relationship with&nbsp;design group across the years and&nbsp;easily&nbsp;trusted&nbsp;Powell with&nbsp;the visuals for his latest solo project.Gilmour&#39;s song&nbsp;-&nbsp;topped off with lyrics by Polly Sampson -&nbsp;was inspired by an unlikely mix of the French SNCF rail announcement&nbsp;jingle and&nbsp;Book Two of&nbsp;John Milton&rsquo;s epic 17th century poem Paradise Lost. The&nbsp;poem, which sets out to deal with the grandest of themes, concerns&nbsp;the Biblical story of the Fall of Man: the temptation of Adam and&nbsp;Eve by the fallen angel Satan and their expulsion from the Garden of Eden.With a brief to reference Gustave Doré&rsquo;s sensational mid&shy;-19th century illustrations for&nbsp;Paradise Lost, the project needed a team who could not only bring the intricately detailed&nbsp;etchings to life but could do so in a manner that captured the depth, drama and scale of&nbsp;both Gilmour&rsquo;s song and Milton&#39;s poem.With the creative bar set&nbsp;high,&nbsp;Alasdair + Jock&nbsp;revelled&nbsp;in the&nbsp;opportunity to develop the imagery and weave some of their favourite art references into&nbsp;the mix. Goya, Bosch, Piranesi, Bernini and John Martin were all heavily referenced, as&nbsp;were smaller details from the famous &lsquo;She Wolf&rsquo; Roman statue, a subtle skeletal&nbsp;illustration from &lsquo;The Birth of Venus&rsquo; by Botticelli and an Otto Dix inspired dead horse.

Alasdair + Jock

Aubrey Powell

Stuart Doig

Carlos De Faria

Rachel Callinan

Ana Garcia

Laura Ireland

Reina Shibahara

Andy Hague

Marty O’Brien

Matt Hare

Glassworks

Prog-Rock/Art Rock

David Gilmour 'Rattle That Lock' by Alasdair + Jock

David Gilmour - Rattle That Lock

In what is quite possibly Blur&#39;s most heartwarming video since Coffee &amp; TV, the band&#39;s creative director Tony Hung and animation directors&nbsp;Layla Atkinson and Pete Mellor from Trunk&nbsp;have created a delightful videogame homage for Ong Ong,&nbsp;from the new Blur album The Magic Whip - and a cute spin-off&nbsp;from Hung&#39;s album cover art.Just like classic games&nbsp;such as Mario Bros, Donkey Kong and Pac-Man, the&nbsp;irresistible&nbsp;hero Mr OK, a bouncing ball - which can be seen on the cover - has to cross various levels, each with it&#39;s own &#39;boss&#39; that he has to defeat in order to be reunited with his kidnapped girlfriend.&nbsp;Each boss was&nbsp;characterised in digital form by Peepshow Collective&rsquo;s Spencer Wilson -&nbsp;but also have their &#39;real&#39; counterparts in live-action sequences bookending the animation, played by the band themselves. And yes, that is Damon Albarn waddling around as Mr Cream the ice cream...&nbsp;Wonderfully silly, and perfect for one of Blur&#39;s rare pure-pop moments.

Tony Hung

Pete Mellor

Spencer Wilson

Amy Sutton

Jonathan Sidwell

Phil Poole

Sussie Juhlin-Wallén

William Nichols

Eleven Mgmt

Blur 'Ong Ong' by Tony Hung

BLUR | ONG ONG

Some of the most enduring iconography associated with The Rolling Stones comes from their classic album Sticky Fingers: the&nbsp;Andy Warhol-designed cover of the bulging jean crotch shot &ndash; that originally came with working zip fly; and&nbsp;the Stones&#39;&nbsp;famous lips logo, designed by&nbsp;John Pasche,&nbsp;also made its first appearance on that album.&nbsp;&nbsp;Now the team at Trunk Animation, led by director Rok Predin, have created a new lyric video for a previously unreleased&nbsp;acoustic version of Wild Horses,&nbsp;included on the special edition of Sticky Fingers coming out soon to celebrate its 45th anniversary. It&nbsp;follows Trunk&#39;s highly successful lyric video for Doom and Gloom (the most watched video on the Stones&#39; YouTube channel). And elements of both the original album artwork, and additional work created for the new re-release, have contributed to&nbsp;the new video.&nbsp;Warhol&#39;s zip is the&nbsp;motif throughout the whole video. Not surprisingly, the Stones&#39; lips also feature prominently - including as the fob on the zip, that reveals and obscures lyrics.&nbsp;And Trunk&#39;s Layla Atkinson, who&nbsp;developed the artwork for the video, used&nbsp;elements from the 100-page booklet that accompanies the new release, including its typeface.&nbsp;Created using Cinema 4D and After Effects, the team used the track&#39;s gentle feel to pace the video while certain lyrics suggested themes and movements.&nbsp;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.[imgtoken data:1]​&ldquo;Some jobs are just very special and this was certainly one of them,&quot; says Rok Predin. &quot;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&rsquo;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.&rdquo;&ldquo;While we love all the projects at Trunk it&rsquo;s always nice to be asked by rock royalty to get involved with a release,&quot; adds producer Richard Barnett.&nbsp;&quot;Layla, Rok and the team have done a great job. The track was originally a lullaby to Keith Richards&rsquo;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&rsquo;s been a great start to the year!&rdquo;&nbsp;&nbsp;

Nic Sanchez

Emily Tedrake

Polydor

The Rolling Stones 'Wild Horses' (lyric video) by Rok Predin

Hooked and inspired by Sasha Kloeber&rsquo;s remix of SRTW&rsquo;s We Were Young,&nbsp;Trunk&#39;s Junior set out to create a video&nbsp;that &#39;compares the drudgery and monotony of adult life against those fragmentary and misremembered moments of a younger carefree self&#39;.Animated using Flash and After Affects and eploying&nbsp;a tonal, colour palette,&nbsp;Junior creates a carefree, hypnotic, visual narrative going against a tradional story arc...

Junior

Layla Atkinson, William Smith, Lesley Dart, Juan Buscarons

Hanan Cher

SRTW 'We Were Young' by Junior

SRTW | we were young

This is the third video by Alasdair Brotherston and Jock Mooney for the Canadian-based Tom Fun Orchestra, and after the award-winning work for&nbsp;the band&#39;s previous album You Will Land With A Thud, this one for the title track&nbsp;from their latest album Earthworm Heart has all of&nbsp;Alasdair + Jock&#39;s distinctive style.But it&nbsp;also has a chilling aspect, and&nbsp;what initially seems like a&nbsp;child-friendly animation eventually takes a more grisly turn, that&#39;s far&nbsp;more suitable for Halloween...The idea for the short came from Hoffmann&rsquo;s&nbsp;Struwwelpeter, The Story Of The Wild Huntsman,&nbsp;and Jock&#39;s beautiful illustrative approach has echoes of Wind in the Willows and Beatrix Potter.&nbsp;And it&#39;s all about a cat that goes fishing in the rain, and stirs the spirits of the vengeful worm ghosts...In this case, Jock provided the illustrations and art direction, and Alasdair the direction, and they were working on it at the same time as their short Gelato Go Home! and the lyric video for Lily Allen&rsquo;s Air Balloon &ndash; and before they created their MVA-nominated &#39;animated album&#39; animation for Coldplay.&nbsp;In contrast to these works Earthworm Heart has a quiet palette and a more claustrophobic atmosphere. &nbsp;It was also the first time they created an animation entirely within the computer &ndash;&nbsp;an arduous yet rewarding process. &quot;The experience and skills we learnt creating Earthworm Heart were invaluable when we created the animated album for Coldplay shortly after,&rdquo; says Jock.&ldquo;Rather than the traditional reversal of fortunes story we wanted to create a narrative that was more complex and less clear cut as to who was the hero or villain,&rdquo; says Alasdair. You certainly get to find out why the collective noun for crows is &#39;murder&#39;...

Company House Records

Tom Fun Orchestra 'Earthworm Heart' by Alasdair Brotherston

Tom-Fun-Orchestra-'Earthworm-Heart'-by-Alasdair-Brotherston-

Alasdair+Jock&#39;s superb animation that accompanied a full 43 minute stream of Coldplay&#39;s sixth album Ghost Stories saw the album go to No 1 in over 100 countries this week.&nbsp;The iTunes stream was available for a full week ahead of release and Coldplay&#39;s vast army of fans took to social media to voice their approval.The directing duo brought to life&nbsp;Mila Fürstová&#39;s brilliant album artwork - a detailed etching of a pair of angels wings over an ocean -&nbsp;to stunning effect.&nbsp;The film used a multitude of animated techniques&nbsp;and a team of 10 animators and art workers using 3D, 2D cuts outs, and classical 2D hand drawn came together to create the&nbsp;50 individual sections. Each section had to be animated in such a way that they could be looped, ranging from 30 secs to an impressive 2 minutes. Once animated, each section then had to go through a heavy compositing and effects stage in order to pull all the different techniques together, and make sure the line style in the animation was exactly the same as that of the album artwork. To help build an overall visual narrative for the album, the team slowly revealed more and more detail as the tracks progress allowing the viewer to travel in and out of what is in essence a world within a world. The team also utilised time-lapse photography and SFX to create the world &lsquo;outside&rsquo; the wings. Time lapse clouds, sea, and mist are mixed with affected art worked shooting stars and a waxing and waning moon which casts the wings into darkness as track 5 Midnight&nbsp;progresses in the middle of the album.Aladair&nbsp;notes: &quot;It was a massive undertaking but we wanted to create something unique for the album, and we loved the idea of bringing this image to life with some really beautiful movement, in a way that matched the intricate and complex look of Mila&rsquo;s artwork.&quot;&nbsp;Producer Richard Barnett adds &quot;The finished project has to be up there in our top 5 along with the projections for Madness at the Queens Diamond Jubilee, Rok&rsquo;s lyric vid for The Rolling Stones, our visuals for Keith Urban at the Country Music Awards, and of course Elton John&rsquo;s Million Dollar Piano visuals!&quot;.Below is an excerpt from the stream that accompanies opening track Always In My Head. A behind-the-scenes can be viewed <a href="http://vimeo.com/95978495" target="_blank">here.</a>

Marie-Margaux Tsakiri-Scanatovits

Zoe Matzko

Jeroen Jaspaert

Aaron Lampert

Valentina Delmiglio

Mo Hague

Chris Sayer

Pedro Lino

Chillibean

Sam Seager

Mila Fürstová

Rock/Pop

Electronica

Indie

Coldplay 'Ghost Stories/Always In My Head' by Alasdair+Jock

Coldplay 'Ghost Stories' Album Animation Stream

Echoing their brilliant projections onto Buckingham Palace for Madness&rsquo;&nbsp;<a href="http://vimeo.com/76447244" target="_blank">It Must Be Love</a>&nbsp;shown during the Queens Diamond Jubilee concert,&nbsp;Alasdair+Jock deliver this fun and lively lyric video for Lily Allen&#39;s upcoming single Air Balloon.To meet tight deadlines, the promo was turned around in seven days and features the duo&#39;s distinctive style along with their vibrant colour palette.&nbsp;The typography, partially inspired by American artist Jeff Koons, is rendered in balloon writing, with sentences filling and deflating&nbsp;and bursting with little puffs of smoke... &nbsp;

Lily Allen 'Air Balloon' by Alasdair+Jock

Lily Allen- Air Balloon Lyric Video

Trunk Animation&#39;s cartoon Christmas card has become as traditional as mince pies and mulled wine - and Christmas cards. And here they&#39;ve adapted one of&nbsp;Alasdair Brotherston &amp; Jock Mooney charming animations, that happens to be inspired to a Christmas-themed classic.And the introduction comes from everyone&#39;s man of the year, reminding us that David wore Christmas jumpers way before everyone else considered them cool...&nbsp;&nbsp;

Thin White Gelato by Alasdair + Jock

Thin White Gelato

Trunk's very animated Christmas card is directed by Rok Predin - created in his new favourite programme, Cinema 4D....

Merry Christmas from Trunk Animation

Merry-Christmas-from-Trunk-Animation

New York-based Ryan Staake from Pomp&amp;Clout transforms all-girl Japanese rock band The Suzan into vampy mini-satans, targeting a lonely innocent girl fan, in Devils.It&#39;s Ryan&#39;s second Suzan video following Home, and Rachel Dainer-Best&#39;s she-devil costumes set the garage-punk tone. &quot;I then worked to give a believable aged film look to the whole piece, which I think ties it all together nicely in a consciously campy way,&quot; says Ryan.

Ryan Staake

Sebastian Gutierrez

Pomp&Clout LLC

Rachel Dainer

Aaron Vinton, Stella Liberman & Leslie Ruckman

The Suzan 'Devils' by Pomp & Clout

The-Suzan-'Devils'-by-Pomp-&-Clout

Followers of Elbow will know of the band's love of illustrator Oliver East's idiosyncratic work - his illustrations grace the covers of every one of their releases since 2008. And now Oliver has now teamed up with Trunk Animation to create a new video for Elbow's Open Arms - the next single from their new album Build A Rocket Boys!, to be released April 25th.

An earthbound loose narrative soon takes flight into imagination - giving full vent to Oliver's drawing style - as ribbons reminiscent of a zoetrope that wind around the characters in the video. Ranges of textures were created to capture the delicacy of Oliver's pen washes, and Trunk's ace compositor Steven Azancot used Cinema 4D to create 3D ribbons that were placed into the 2D space. 
As with the entire video, the ribbons were animated at 8 frames a second to give it a very hand-drawn feel. In short, a fine, lyrical addition to Trunk's catalogue of videos for British indie bands, including Hot Chip and Magic Numbers.

Oliver East

Grigoris Leontiades, Layla Atkinson

Elbow’s Open Arms by Trunk Animation

Elbow’s-Open-Arms-by-Trunk-Animation

Al and Jock created and shot it at Jerwood Space (making use of the theatrical lighting) and Sheldon Gardner at Time Based Arts boosted the colour to eye-popping levels in the grade.

Silvery’s The Naked And The Dead by Alasdair Brotherston & Jock Mooney

Silvery’s-The-Naked-And-The-Dead-by-Alasdair-Brotherston-&-Jock-Mooney

Newly signed to Trunk is Brooklyn-based directing collective Pomp &amp; Clout. Their first commission is this wild, madly colourful, suitably lo-fi interpretation of the jarring synth-attack of Rusko's Woo Boost for Mad Decent. 
The backgrounds and effects were all made through broken analogue video mixers, VCRs, and colour correctors. Then the original footage was keyed, laid on top, and sandwiched between even more analog degradations. 
It's a wacky visual feast - and Pomp &amp; Clout are one of five new signings at Trunk in London, currently undergoing a refreshing relaunch.

Rusko's Woo Boost by Pomp & Clout

Trunk Animation

Production Company

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