The Directors: Clubcamping
Named after the notion they’re a stargazing troupe of animation explorers, Clubcamping is exceptional at character-driven animation and problem solving through design. Comprised of some of the best illustrators, storyboard, animation and compositing artists from Latin America, their dynamic, high energy, fluid animations are founded in story, and make for an expressive, detail-oriented design that is truly singular and mind-bending.
Based out of Buenos Aires, Clubcamping first started with Ana Sieglitz, Juliana Millán and Mariano Fernández Russo in 2018. They found they shared a kinetic energy when working together, as reflected in their style and process, and so joined forces – the rest, as they say, is history.
Name: Clubcamping
Location: Buenos Aires/ Argentinas
Repped by/in: Hornet
Awards:
Ladawards: LAD GOLD 2022 - Animation.
New York Festivals Shortlist: Film Craft: Animation.
Ladawards: LAD SILVER 2022 - Animation.
Pictoplasma: Official Selection 2022.
Prix Ars Electronica 2022: International Competition for CyberArts Honorary Mention.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Ana, Juliana & Mariano> If a script flows and fits naturally in its desired length, that's a good indication that it was written thoughtfully with a narrative intention.
We love the scripts we get to collaborate on, and finish shaping. We shine when we can experiment creatively with a rough layout to take it to the finish line.
LBB> How do you approach creating a treatment for a spot?
Ana, Juliana & Mariano> It always starts with total darkness. Then there is a spark, whether it be a camera angle, an art style, or a specific storytelling device that sets us on an exploratory journey.
Once we feel a vibe, and have an initial intention, we build around that idea to help it grow and evolve, brick by brick. We do visual research, concept art, narrative explorations, and character development.
When a specific visual resonates, we first accept it, then we ask why.
With each answer, we keep shaping the creative concept. The process is very gradual and organic.
We love looking for ways to build our treatments around structures that create suspense and curiosity – playing with a narrative arc to maximize the impact of our proposal.
LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?
Ana, Juliana & Mariano> It all depends on the client and the project, of course, but we love researching and strategising.
Deconstruction and disruption are key elements of our ethos, and we can only do it if we take the time to understand the brand. The first step is always asking our agency partners for insights on the brand, any brand guidelines, etc. Visiting their website, social channels, and a google search is next in order to get an idea of who they are.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Ana, Juliana & Mariano> I don’t believe you, as a director, need to have a special working relationship with someone in particular.
I don’t believe the director needs to have a special working relationship with anyone in particular. A director has to be a lighthouse for the whole team. A leader that shares their knowledge indiscriminately with everyone that needs it. Our approach as directors is to make sure that everyone is treated with equal respect and warmth.
Obviously on big productions perhaps as the director you don't get to know everyone personally, but nevertheless, that love and light you shine through your work ethic will pour to each corner of the production, for sure.
LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?
Ana, Juliana & Mariano> If there are characters involved, then we're passionate about it! The medium doesn’t matter - we get excited about anything ranging from 2D, to mixed media. We have a special place in our hearts for action sequences, and if we can develop visual metaphors as well, then that’s a win-win.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Ana, Juliana & Mariano> The idea that the director just landed in their position and dictates marching orders, without getting their hands dirty (so to speak) is a misconception that has truthful roots.
Changing technologies, and new generations of directors are being more and more resourceful and involved in each stage of the creative process. Even getting their hands in on the actual technical part.
We direct and work on each stage of the process, be it drawing a storyboard, test animation ideas, or doing the heavy comp. That's what value in our team: multidisciplinary collaborators who can solve several problems with the varied skill sets they have.
LBB> How does the budget influence your creative process, and to what extent do you keep that in mind while working?
Ana, Juliana & Mariano> We are experts at making each budget, be it small or big (preferably big... ahem!) yield extraordinary results. We are always aware of our budget parameters and, of course keep it in mind while working. The deep knowledge of what we, as a team, can do allows us to organically come up with perfectly tailored ideas that allow us to scale up or down. Having a complete overview of the process, along with trust from our clients to give us artistic control from the early stages of a project helps with budget challenged projects. This trust gives us the power to avoid overly risky technical and creative choices that make the whole difference.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Ana, Juliana & Mariano> One of the craziest that comes to mind would be a project where, 3 days before our final delivery, and after months of creating an incredible 2D piece with total freedom and practically no feedback from the agency, the client wanted to intercut several shots of stock footage. You can always encounter problems and unexpected turns in a project, but this was a whole new level of destruction. We thoroughly built a mesmerising narrative flow with great transitions and cool animation rhythms that we felt were suddenly all going to waste.
How did we solve it? We accepted that the project would have their version, and a directors cut at the end.
LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?
Ana, Juliana & Mariano> As the rise of new technologies and platforms makes the audiovisual world more democratic every day, opening the production world to new, diverse, and undiscovered talent is the best way to empower our industry and move it forward. We proudly have current and former worldwide interns at our studio, and that is an inherent part of our mission.
LBB> How do you feel the pandemic influenced the way you work into the longer term? Have you picked up new habits that you feel will stick around for a long time?
Ana, Juliana & Mariano> It has changed the way we work forever. We totally polished our remote workflow and our internal processes to the point where having the whole team working at the office wasn't a necessity, but a collective election (we are very affectionate and cuddly people).
We`re currently working three days from home and two days at the office, and it's glorious!
LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?
Ana, Juliana & Mariano> Certainly, all the new social media formats have arrived to make our heads ache a bit. Nowadays, a commercial project with only the traditional 16:9 format is a rarity. We developed a system to tackle all the usual possible formats that a project might require, with minimum planning.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Ana, Juliana & Mariano> Porsche, Tartarus, Adidas, Ikea.
Each spot offers a blend of what we love the most: action, subtle moments, dynamic FX, exciting transitions, and unexpected timings.
