Next up is a commercial for a UK company My Freda that donates period products to women in need. In addition to music videos, she’s worked on Blake Shelton’s Christmas special and commercials for Ziploc and Purex.
#Happy bones animation tv
She takes on one or two big stop motion projects a year and is also an animator for Hulu’s TV show Crossing Swords and Cartoon Network’s Robot Chicken. “Working on a music video gives you incredible creative flexibility and freedom,” she said. When she got the call in 2011 from a former college professor to help with the Cage the Elephant project, she discovered that music videos are her favorite projects.
The video work comes to Bones through agents, producers, and friends and she rarely has any direct contact with the band. They were both wonderful to work with and helped move the project forward,” she said. “Mira helped nail out the digital parts required for the dolls to lip-sync. The animation process is very time-consuming - a productive day of animation yields 8-10 seconds of action. Kinema Citrus Co., Ltd is a Japanese animation studio, founded on March 3, 2008, by former Production I.G and Bones members and based in Suginami, Tokyo. She and her production assistants student Bailey Hoffman (Senior, Animation and Art History) and Alumna Mira Taliaferro (’20 Animation) worked around the clock for 11 days to meet the quick deadline. She redesigned the male doll’s faces, added hair, sewed costumes, and then put them into provocative positions that would probably shock Mattel. In the EARTHGANG video, she animated Barbie and Ken-inspired dolls. Most of her work involves creating figures that look like the musicians by building out a skeleton and adding clay and other materials. I like building things and sewing so it’s the perfect combination of multiple hobbies I enjoy,” she said.īones has worked on videos for Blink-182, Cage the Elephant, Jane’s Addiction, and most recently, hip hop artists EARTHGANG and Wale. “I’ve always loved stop motion because it’s very tactile.
She does it all in her pajamas from her home basement studio, and she loves every minute of it. For Assistant Professor of Animation Bona Bones, who has worked on stop motion videos for some of music’s biggest names, it looks more like fabricating intricate puppets and sets, meticulously manipulating the figures, and animating frame after frame to simulate movement. Making a music video conjures images of exotic locales, provocative costumes, and crazy antics.
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