IGA Holiday 2023

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  • Client

    IGA

  • Agency

    Sid Lee

  • Production

    Tonic DNA

  • Directors

    Kun Chang, Fabien Fulchiron

  • Executive Producer

    Stefanie Bitton

  • Senior Producer

    Frédérique Parenteau

  • Project Manager

    Stefen Lamontagne

  • Coordinator

    Fanny Desseaux

  • Storyboards

    David Goldstyn, Ana Eskildsen, Michelle McKelvey-Faucher

  • Editing

    Marc-André Bourgoin & Nadim Chartouni

  • Concept Art

    Pedro Conti, Lisandre Thériault-Brunet

  • Character Design

    Isabella Ceravolo, Michael Renaud

  • Environment Design

    Cindy Foucault, Phoebe Mao

  • CG Supervisor

    Fabien Fulchiron

  • 3D Character supervisor

    Pedro Conti

  • Character Modeling and grooming

    Flooul Animation, Pedro Conti, Gustavo Ramos, Lincoln Horita

  • Character Rigging

    KippCase Rigging Studio

  • Environment Modeling

    Fabien Fulchiron, Lisandre Thériault-Brunet, Ariane Ouimet

  • Texture & Lighting

    Fabien Fulchiron, Lisandre Thériault-Brunet, Ariane Ouimet, Maxime Pelletier

  • Animation Supervisor

    Wiley Townsend

  • Layout and Posing

    Cindy Foucault

  • 3D Animation

    Cindy Foucault, Gabriel Fazzioni, Wiley Townsend

  • 3D Animation- Nebula Studio

  • Project Manager

    Ana Fino

  • Animation Coordinator

    Miguel MadaĂ­l de Freitas

  • Animators

    Ahmed Adel; David Omair; Gabriel Garcia Poignet

  • Matte Painting

    Michael Renaud

  • Compositing Lead

    Marc-André Bourgoin

  • Compositing

    Marta Grasso, Marc-André Bourgoin

  • Motion Design

    Alien Ma Alfonso

  • Color grading

    Benoît Côté

This is the second year that Tonic DNA has collaborated on the IGA holiday film, and we wanted to push the 3D animation quality to new levels, as well as create a new visual style for the story world inspired by stop-motion animation. 🎄❤️

Director Kun Chang helped craft a cast of plush children’s toys, favourite companions brought to life by imagination and rendered with lovingly crafted and touch-worn textures by co-director Fabien Fulchiron.

Play

This is the second year that Tonic DNA has collaborated on the IGA holiday film, and we wanted to push the 3D animation quality to new levels, as well as create a new visual style for the story world inspired by stop-motion animation. 🎄❤️

Director Kun Chang helped craft a cast of plush children’s toys, favourite companions brought to life by imagination and rendered with lovingly crafted and touch-worn textures by co-director Fabien Fulchiron.

  • Client

    IGA

  • Agency

    Sid Lee

  • Production

    Tonic DNA

  • Directors

    Kun Chang, Fabien Fulchiron

  • Executive Producer

    Stefanie Bitton

  • Senior Producer

    Frédérique Parenteau

  • Project Manager

    Stefen Lamontagne

  • Coordinator

    Fanny Desseaux

  • Storyboards

    David Goldstyn, Ana Eskildsen, Michelle McKelvey-Faucher

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The Characters

The story follows Mr. Beaver, who changes from being a grumpy old recluse to someone who learns to share and make new friends, when he decides to teach some rascals who try to steal his Yule Log how to make their own. ​​​​​​​

The character textures include a wide range of materials from fabric to fur, and it was important for them all to have a worn-in quality that communicates life.

The Environments

If you look closely at the environment designs, there are many details that reveal rich backstories. “We asked ourselves why does the grandfather tell this particular story to his grandchildren? We imagined a well-traveled guy who lives far away from his granddaughters and rarely sees them and but knows that they are at the age of disagreeing a lot – Maybe he tells a story that will help them cooperate and share.”

Technical Approach

In the fable world we used some lenses to force the depth of field and enhanced that in comp to create a softness on the edges of the frame and more sharpness on the animals. Our goal was to have the same live shooting feeling we generally have in stop motion video, where the set and the characters are small, but the lights, cameras, and materials used are actual size.

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