MakerPlace by Michaels’ puppet state
The new online marketplace for makers releases a joyous spot in which crafted critters share some homespun wisdom.
Credits
powered by- Agency Oberland/New York
- Production Company Nexus Studios/USA
- Director Conor Finnegan
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Credits
powered by- Agency Oberland/New York
- Production Company Nexus Studios/USA
- Director Conor Finnegan
- Art Director Gordon Allen
- Colorist Daniela Rotaru
- Colour Producer Andrew Patrick
- VFX Glassworks London
- Audio Mix Sonic Union
- Audio Mixer David Papa
- Audio Producer Gina Petrarca
- Music & Licensing Company Junto Sounds
- Chief Creative Officer Bill Oberlander
- Executive Creative Director Lisa Topol
- Creative Director Copy Chris Plehal
- Creative Director Art Esteban Izquierdo
- Executive Producer Kristen Barnard
- Executive Producer Ryan Goodwin-Smith
- Editor David Slade / (Editor)
Credits
powered by- Agency Oberland/New York
- Production Company Nexus Studios/USA
- Director Conor Finnegan
- Art Director Gordon Allen
- Colorist Daniela Rotaru
- Colour Producer Andrew Patrick
- VFX Glassworks London
- Audio Mix Sonic Union
- Audio Mixer David Papa
- Audio Producer Gina Petrarca
- Music & Licensing Company Junto Sounds
- Chief Creative Officer Bill Oberlander
- Executive Creative Director Lisa Topol
- Creative Director Copy Chris Plehal
- Creative Director Art Esteban Izquierdo
- Executive Producer Kristen Barnard
- Executive Producer Ryan Goodwin-Smith
- Editor David Slade / (Editor)
Directed by Conor Finnegan through Nexus Studios, this fun hero film for MakerPlace by Michaels sees homemade puppets burst into life, sing and dance to Aretha Franklin’s Respect and even lay knitted eggs.
Created in collaboration with New York agency Oberland, the campaign Respect the Handmade was inspired by actual products on the platform.
The puppets and crafts were all handmade, and Finnegan strived to capture as much character performance in-camera as possible. The bag, cushion, stool and socks were all puppeted entirely in camera. This approach offered the advantage of preserving on-set flexibility as well as a sense of spontaneity during puppeteering.
Finnegan also used digital techniques to enhance the traditional ones. Each lip earring was crafted individually and shot as substitute stop-motion animation, while the dog portrait on the plate was animated and painted in 2D before being composited into the live-action sequence.
When selecting the characters, the director knew he wanted to exploit the human tendency to recognise faces in objects that don’t have them – a phenomenon scientifically known as pareidolia.