DA: Why did you decide on a black-&-white palette?
SS: Everything improved the more pared down it got, and it seemed more appropriate to let the music brighten a black and white world.
DA: What was the biggest challenge you faced, and how did you overcome this?
ST:The biggest challenge by far was the schedule that we had to work to – two and a half weeks weeks for a 40-second spot. We managed to overcome this by having a highly skilled crew who understood each other’s way of working and we established a production line that was very tight and allowed for few errors. No doubt the voodoo doll of the producer was an effective outlet for the team when under stress. Another way round the tight timings was that the characters built in CG were based on a model that could be used for all of them, but with minor differences in height and musical notes to distinguish them from each other.
DA: What software did you use to create the piece?
SS: We used Softimage|XSI for the CG elements; After Effects to import hand-drawn animation and textures, and the whole piece was composited in After Effects to give the illusion of a traditional 2D piece.