Making of film directed by Jake & Josh
The Bear & the Hare is the first John Lewis campaign to embrace the emotive power of animation, a filmic technique so evocative of Christmasses gone by.
Elliot and Yves took the two most traditional and time-honoured animation processes – stop-motion and traditional hand-drawn 2D animation – and combined them to create something innovative and unique. Their aim was to do almost everything in camera, using real lighting, lens and film craft to build a world where the audience can see and feel the painstaking work behind it. The 2D animation’s physical interaction with the set and the human imperfections inherent in the process create a hand-crafted piece full of heart and integrity.
The animation process involved constant shifts between 2D and 3D worlds. In order to achieve this complicated combination the whole film was first created in Blinkink Studios as a 3D previsualisation animatic with all the sets and characters built to scale. This allowed everything to be developed and planned alongside the modelmakers and animators, thus integrating the different disciplines and processes before the set was built or the characters were printed.
Aaron Blaise (Brother Bear, The Lion King, Mulan) and his team of veteran Disney animators at Premise Entertainment in Orlando, Florida, designed and animated the characters. The 2D-animation frames were printed onto mounted paper and cut with a laser. Each frame (nearly 4,000 in total) was then individually hand-labelled before going on set. Feature-film stop-frame animators then spent 6 weeks bringing the world to life.
The set was built by our production designer John Lee (Aliens, Fantastic Mr Fox, Frankenweenie) and his team at Shepperton Studios before being transported to Clapham Road Studios ready for the stop-motion shoot.
Post-production was done in-house in Blinkink’s animation studio, and the final grade was completed at MPC.
Elliot Dear & Yves Geleyn
James Stevenson Bretton
Premise Entertainment LLC
2D Animation Supervisors:
2D Line Producer:
Head of Clean-up 2D Animation:
2D Clean-up Artists:
Mi Yul Lee
2D Compositor/Scene Setup:
2D Artistic Coordinator:
2D Digital Artist:
2D Lead Colourist/Coordinator:
Assistant 2D Colourist:
2D Illustrator Technician:
The Graphical Tree
Robert Frank Hunter
Robert Frank Hunter
3D Technical Director:
3D Previsualisation Artist:
Lead Stop-Frame Animator:
Production Designer/ Supervising Modeller:
Art Department Modellers:
Yossel Simpson Little
Art Department Assistants:
Director of Photography:
Sam Sneade at Speade
Ellie Johnson at Speade
Sam Robson at Factory Studios
Jean-Clement Soret at MPC
‘Making of’ Film:
Jake Hopwell & Josh Hine
Adam & Eve DDB
Executive Creative Director:
Aidan McClure Laurent Simon
A shot-by-shot investigation of the three-way standoff at the climax of Sergio Leone’s The Good, the Bad, and the Ugly, revealing mathematical patterns, images of thought, and pure musical rhythm. Enjoy!
A video essay by Max Tohline, 2013.
For educational use only. The content of this video is protected by the Academic Fair Use clause (Section 107) of the U.S. Copyright Act of 1976. For further information, see: copyright.gov/circs/circ21.pdf
If you would like to license this video for classroom use, please leave a comment or send me a private message.
Warm thanks to the people over at Rope of Silicon, CinephileArchive [Cinephilia and Beyond], and No Film School for featuring this video on their sites. The writer at Rope of Silicon asserts that I teach at Ohio University. This used to be true, but now I teach at the Missouri University of Science and Technology (Missouri S&T).
Alt.vfx worked with Director Steve Rogers, from Revolver with Whybin/TBWA Melbourne and Nissan Australia to create the new campaign for the Australian Launch of the Nissan JUKE. The 45 second launch spot, takes us on a journey with some of history’s most well known ‘small tough guys’ linking them to the all new Nissan Juke.
As well as adding the extra battle grit to the Genghis and Napoleon scenes, Altvfx was responsible for creating complete digital environment for Alexander The Great and creating the post apocalyptic world for the Juke.
In a not too distant future, societies of all countries come to rely on an intricate network of artificial intelligence devices designed to bring efficacy to man’s life. Yet, man continues to devour himself in useless wars. A strong political hierarchy now divides all powers into three factions, and A. I. devices rapidly gain ground as efficiency becomes a priority.
As social revolts grow worse everyday, authorities seek ways to control their citizens. They decide to carry out a series of tests that will determine not only whether some crucial powers can be transferred to non human entities, but also whether man is ready to yield those powers.
The world has become a cell for all man and women, who withstand and endure their lives, rather than living them. Machines might have found a solution.
From now on, you are set free. ..
Keloid is not about robots, it is about men. Big Lazy Robot created this spec film — more than two years in the making — with the purpose of giving free reign to the creative aspects of production that many times are so much missed during profit work. And yes, we enjoyed the ride!
K3loid directed by JJ Palomo
Big Lazy Robot Crew (biglazyrobot.com) :
Music and Sound Design:
Online Color Correction and Conform:
Manager: Scott Glassgold / IAM Entertainment