Two tadpole-like creatures with enormous eyes chase each other around, to a driving techno soundtrack. Then these digitally-animated characters find themselves plunged into a different reality - one where a single wrong move could mean they exist in only two dimensions. After completing this mind-warping mini-rollercoaster ride, creator James Cunningham and producing partner Paul Swadel worked together on bank robbery tale Infection, which won invitation to the Cannes Film Festival.
Animated plasticine. Talking chickens. Dancing Cossacks. Plus old favourites bro'Town, Hairy Maclary and Footrot Flats. From Len Lye to Gollum, feast on the talents of Kiwi animators. In his backgrounder to the Animation Collection, NZ On Screen's Ian Pryor provides handy pathways through the frogs, dogs and stop motion shenanigans.
This morbidly funny short, made by students of Auckland's Media Design School, depicts the demise of 26 alphabetical and animated animals at the hands of nature’s greatest enemy — the human. Framed as a father possum (Phil Greeves) reading his children their favourite bedtime story, the alliterative animal deaths are undercut with cheerful giggling from the two young possums. The film won acclaim at festivals worldwide —screening at South by Southwest in 2016, and taking out Best Animated film in the Comic-Con Film Festival later that year.
Das Tub kickstarted an award-winning run of CGI short films for Media Design School students working under their 3D animation tutor, director James Cunningham. Part live-action, part CGI, its tale of a German U-boat crew facing danger under the ocean pays homage to submarine classic Das Boot — before a Pythonesque twist which features a cameo from writer Nick Ward. Short, sharp and lovingly rendered, the film won 'best short short' at the 2011 Aspen Shortsfest, while Cunningham (Poppy, Infection) took Best Director at the Honolulu Film Awards.
Armed with his trusty ray gun and protected by his pith helmet Lord Broadforce's exotic species search on an alien planet is going swimmingly — until the dame gets colonial angst. The short is based on the sci-fi world of Dr Grordbort created by Weta Workshop's Greg Broadmore (designer on District 9), in which Victorian steampunk meets alien trophy hunting. The live action-CGI film was created over 22 weeks by 11 students of the Media Design School's 3D animation programme, under the direction of James Cunningham. Broadmore followed with a Grordbort video game in 2018.
This excerpt from arts show The Edge looks at the early days of Weta, the Wellington effects company which would win Oscars for King Kong and Avatar. Dressed in a Tintin T-shirt, Peter Jackson talks about the effects being crafted for Heavenly Creatures, and forecasts a future where filmmaking will go digital. Richard Taylor — later head of Weta Workshop — crafts a sea creature for another project; George Port guides viewers through the basics of digital effects. At this point Port was Weta's only digital effects expert. He worked on Heavenly Creatures for seven months straight.
In Poppy two Kiwi soldiers discover a baby in a muddy WWI trench. For Paddy it will lead to redemption amidst the hell of war. From a David Coyle script — based on his great-grandfather’s war story — Poppy was another successful computer-animation collaboration between producer Paul Swadel and director James Cunningham (Infection, Delf). CGI evokes a bleak Western Front landscape on which the (motion-captured) human drama unfolds. Cunningham spent over 4500 hours making Poppy; the result was acclaim at Siggraph, and invites to Telluride and SXSW festivals.
Peter Jackson has gone from shy fanboy to master of his craft; from Pukerua Bay to Wellywood. With six journeys into Middle-earth now behind him, he has few peers in the realm of large scale filmmaking. Led by early 'behind the scenes' docos this collection pays tribute to PJ's journey, from re-making King Kong in his backyard to err ... re-making King Kong in his backyard.
New Zealand’s first CGI short film gives “eyes on the road” a new meaning as a pair of eyeballs drive to a mind-bending purgatory. A collaboration between visual effects man John Sheils and his brother Michael, Scream was shot in early 1991; finally 25 minutes of footage was “brutally” edited down to three, and fulsomely scored by John Gibson. The sly ‘based on true events’ title-card nods to the makers’ ambitions to “treat animation like live action.” In 1994 it screened in NZ cinemas as opener to the ILM wizardry of Jim Carrey hit The Mask, followed by a number of overseas festivals.
Presented by an animated pencil, but no less authoritative for it, From Len Lye to Gollum traces the history of Kiwi animation from birth in 1929, to the triumphs of the Lord of the Rings trilogy. The interviews and animated footage cover every base, from early pioneers (Len Lye, Disney import John Ewing) to the possibilities opened by computers (Weta Digital, Ian Taylor’s Animation Research). Along the way Euan Frizzell remembers the dog he found hardest to animate and the famous blue pencil; and Andrew Adamson speculates on how ignorance helped keep Shrek fresh.