Post pobrano z: Crohn’s & Colitis Foundation of America

Post pobrano z: Cadillac Carry at the Oscars

GM brand Cadillac has run four commercials in association with the 89th Academy Awards, “Carry”, “Pioneers” and “Pedestal”. The Cadillac Carry commercial, one of the most talked about Oscars ad, focuses on an America with a shared commitment to carry one another, despite differences. “We are a nation divided. That’s what they tell us, right? This chasm between us. But what they don’t tell you, what doesn’t make the news, is this. Maybe what we carry isn’t just people, it’s an idea, that while we’re not the same, we can be one, and all it takes is the willingness to dare.” Footage of protests, rescues and community celebrations is presented alongside historical shots of Muhammad Ali, Marilyn Monroe and Dwight Eisenhower and classic Cadillac models.

One ad, called “Pedestal,” features the Escala concept car. Another ad called “Pioneers” spotlights technology used in Cadillac vehicles. A fourth ad is dedicated to the CTS-V.

Cadillac Carry Credits

The Cadillac Carry commercial was developed at Publicis New York by chief creative officer Andy Bird, executive creative director John Kenney, chief production officer Lisa Bifulco, executive producer Anthony Garetti, producer Justine Palivoda, chief executive officer Carla Serrano, managing director Adam Hunt, strategy directors Ben Zumsteg and Patrick White, music supervisor Rachel Rauch, group account director Emily Shahady and account director James Bundy.

Editor was Jay Rabinowitz at Lost Planet with executive producer Krystn Wagenberg and producer Felix Cabrera.

Visual effects were produced at Black Hole. Colorist was Tom Poole at Company 3.

Sound was produced at Sound Lounge. Music is “Climb” from the score of “The Mission”, by Ennio Morricone.

Further Credits

Pedestal and Pioneers were developed at Rokkan by chief creative officer Brian Carley, associate creative director Noel Nickol, creative directors Billy Veasey, Bill Carlson, Mario Stipinovich, senior art director Steff Wilson. Production was by Independent Media.

Post pobrano z: Piper wins Oscar

Pixar’s film, “Piper” has won the Oscar for Animated Short Film at the Academy Awards. Released in tandem with the animated feature film Finding Dory, “Piper” tells the story of a hungry baby seabird overcoming fear of water. Animation director Alan Barillaro found his inspiration for the short film as he jogged along the beach near Pixar Studios. He observed birds fleeing from the incoming waves but returning immediately to find their food. In “Piper” the baby sanderling is inspired by hermit crabs who dig into the sand to find food in the deeper water. The six minute film was developed over three years, with animation informed by regular visits to beaches in San Francisco Bay and Monterey Bay Aquarium. Macro photography and special effects software were combined to recreate sand, waves and feathers with a new level of accuracy in lighting and movement.

Credits

Piper was produced at Pixar by director/writer Alan Barillaro, producer Marc Sondheimer, director of photography Erik Smitt and Derek Williams, executive producers John Laseter and Andrew Stanton, production managers Sarah K Reimers and Richmond Horine, storyboard artists Rejean Bourdages and Enrico Casarosa, Tony Maki, Tony Rosenast and Rosanna Sullivan, head of story Brian Larsen, layout artists Colin Levy and Charlie Ramos, animation coordinator Samantha Jane Samuels, animators Dovi Anderson, Evan Bonifacio, James W. Brown, Simon Christen, Claudio de Oliveira, Graham Finley, Rob Gibbs, Joey Gilbreath, Catherine Hicks, Patty Kihm, Erick Oh, Bret ‘Brook’ Parker, Alli Sadegiani, Tal Shwarzman, Ricky Wight, Kureha Yokoo, sets shading artist Tracy Lee Church, effects artists Shaun Galinak and Sarah Beth Eisinger, digital artist Andrew Jimenez, visual effects artists David Lipton and Andrew Wheeler, FX technical director Leon JeongWook Park, character shading and grooming artist Kiki Mei Kee Poh, VFX supervisor Ferdi Scheepers, sets support Andrew Schmidt, effects animation technical director Vincent Serritella, colourist Susan Brunig, rendering supervisor Reid Sandros, title designer Laura Meyer, supervising technical director Brett Levin, technical developer Brandon Wang.

Sound was produced by sound designer Ren Klyce, production sound designer Samuel Lehmer and foley mixer Scott Curtis.

Music was by Adrian Belew.

Post pobrano z: DB Export launches Beer Bottle Sand

DB Breweries has launched “Beer Bottle Sand”, an environmentally friendly campaign designed to encourage the recycling of glass beer bottles. In New Zealand, three out of every twelve beers sold end up in landfill. The Beer Bottle Sand project aims to keep recyclable glass out of landfill and sand on New Zealand’s beaches. The brewery has built a fleet of machines that let their drinkers instantly turn their empty bottles into sand substitute. DB Export Beer Bottle Sand will then be supplied to construction companies and commercial partners, reducing the country’s dependence on beach-derived sand. To do their bit, New Zealanders simply have to empty a bottle of DB Export. The Beer Bottle Sand campaign follows on from the ongoing DB Export Brewtroleum campaign.

http://www.dbexportbeer.co.nz/db-beer-bottle-sand
http://www.dbexportbeer.co.nz/sand-machine

The Beer Bottle Sand Machines reduce an empty bottle of DB Export into sand substitute in just 5 seconds. As the bottle is inserted, a laser triggers a wheel of small steel hammers spinning at 2800rpm. As the bottle is pulverised a vacuum system removes silica dust and plastic labels, leaving behind 200 grams of sand substitute. The brewery is in the process of finalising a two year deal to supply DB Export Beer Bottle Sand to Drymix – New Zealand’s biggest producer of bagged concrete. Beer Bottle Sand will also be supplied to national roading projects, commercial and residential construction, right through to golf bunkers.

Says Colenso BBDO Creative Chairman Nick Worthington: “Brewtroleum’s success came through finding partners who could make the idea more than advertising. We’re thrilled to partner with the country’s biggest construction companies to make DB Export Beer Bottle Sand a viable alternative to beach sand. And we’re excited to work with DB Export drinkers to ensure a reliable supply of empty bottles.”

Says Sean O’Donnell, Marketing Director at DB Breweries: “We can’t solve the problem alone but we knew we could do more to help. Our ambition is to help drive more recycling whilst looking out for the beaches which are an integral part of our Kiwi DNA. We’re proud to launch an initiative that can help us do our bit to protect our beaches for future generations.”

Beer Bottle Sand Credits

The Beer Bottle Sand campaign was developed at Colenso BBDO.

Filming was produced at Finch.

Media was handled at PHD.

PR was handled at Spark PR & Activate.

Shopper marketing work was done at Raydar.

Digital work was produced at Union Digital.

Post pobrano z: Genesis Noir – Teaser

“Genesis Noir” takes place before, during and after the Big Bang as you race to stop the expansion of the universe and save your love. “A cosmic gunshot expands towards the heart of a god and the player must explore the universe, seeking clues on how creation might be undone.”  Inspired by the world of animation and motion design, “Genesis Noir blends visual storytelling and interaction into one seamless experience”. With its beautiful and unique style, cosmic premise, and generative gameplay, we at Motionographer are very excited to find out more about this game and what is going on over at the Feral Cat Den!

You can find out more info below.

Post pobrano z: Hockney at Tate Britain

Post pobrano z: How a “design machine” made The Motion Awards

Just in time for the entry deadline of March 1st, the following guest post from Sissy Hobizal of FirstMates reveals the process behind branding The Motion Awards by Motionographer. First Mate’s goal: build an ego-destroying design machine to do the work for them.

Post pobrano z: SAVE AS

Post pobrano z: Every Pixel Counts at D&AD Next Awards

F/Nazca Saatchi & Saatchi have released a new series of stop motion animations as the centre-piece of this year’s “Every Pixel Counts” campaign, promoting the D&AD Next Awards. The Every Pixel Counts campaign spotlights the work of previous Next Award winners and the attention to detail of their creative process. Animations will be shared across all social channels over the coming weeks before entries close on 22 February. The animations were created using over 500 acrylic pieces, which were carefully lit and photographed frame by frame. It took seven days in the studio, more than 840 photos were taken, and for the animation and composition, each pixel in each frame of the film was individually separated, treated and coloured.

Production company Piloto talked about the animation process, “We created the motion scenes on the computer, trying to find graphic patterns in movement, and then repeated them manually on the animation table, forming a ballet of Pixels.”

Care for the smallest details is also evident in the choice of sound producer and voiceover for the animated campaign, Dru Barnes, a Grammy-nominated rapper, who immersed himself in the different texts before performing them. The six tracks were filmed in one day in New York with Brazilian musicians “Aldo the Band” providing the instrumental accompaniment.

The “behind the scenes” film brings all these elements together and an exclusive filmed interview with Rodrigo Castellari and Pedro Prado, creative directors at F/Nazca Saatchi & Saatchi, explains the creative thinking behind the campaign.

Every Pixel Counts Credits

The Every Pixel Counts campaign was developed at F/Nazca Saatchi & Saatchi, Sao Paulo, by general creative director Fabio Fernandes, creative directors Pedro Prado and Rodrigo Castellari, account managers Ricardo Forli and Thiago Iusim, RTV team Elucieli Nascimento, Fernanda Sousa, Rafael Paes, Renato Chabuh and Victor Alloza.

The films were produced at Piloto, Sao Paulo, by director/DOP Daniel Soro, director/art director and editor Alexandre Chalabi, editor Arthur Britto, stop motion animator Breno Licursi, animation and composition team Ricardo La Bella Simonetti, Rafael Meira, Monica Meira, Petterson André and Igor Romana, rotoscope artist Diego Ruiz, finisher Ed Andrade, executive producer Natalia Souza, production coordinators Suyan Mariotti and Caroline Souza, account managers/line producers Regina Knapp, Roberta Frederico, Ariane Esteves, Catia Nucci, post production coordinators Nayla Kols and Regina Mimi
, sound producer Evil Twin, maestros André Faria and Murilo Faria, documentary content director Ariel Danzinger (NY), account manager Juliana Tangary with voiceover by Dru Barnes.

Post pobrano z: BHF Unexpected – When You Least Expect It

The British Heart Foundation (BHF) is running “When You Least Expect It”, a controversial integrated brand campaign that continues to reinforce the message of the sudden and unexpected devastation of heart disease: ‘Heart disease can kill when you least expect it”. The provocative element of the campaign is a commercial set in a wedding, in which the maid of honour collapses and dies. The BHF Unexpected campaign brings together a broad spectrum of media to deliver the unexpected. Real time native content was provided for a takeover of The Sun’s key editorial locations including the sports page and TV listings. Unexpected ‘lifestyle’ media including coffee cups, taxis, cinema tickets and mirror clings. The BHF Unexpected campaign seeks to act the same way that heart disease behaves in real life, with content that disrupts routines, draws the viewer in with its unexpected nature. Tailored, custom long form copy is designed to draw attention with a relevant and irreverent message, bespoke to the media. In doing so the campaign also tackles the indiscriminate nature of heart disease by delivering what feels like a direct, one to one conversation with whoever is interacting with it, but at a national audience level.

Heart disease can affect anyone at anytime, tearing families apart in an instant. The fact it strikes without warning is what makes it cruel – leaving loved ones with no time to prepare for it, no time to say and do the things they really wish they had. But there’s a way of fighting back. For over 50 years the BHF has pioneered life saving research to fight heart disease, believing that no one should have to suffer this devastation.

Carolan Davidge, Director of Marketing and Engagement at the British Heart Foundation, said: “This campaign aims to shift the way people think about heart disease. The truth is that heart disease can strike at any time, leaving loved ones devastated and unable to say goodbye. Around 3,000 lives are lost to heart and circulatory disease every week in the UK. By making people contemplate the unexpected devastation that heart disease causes, we hope to inspire people to donate funds so the BHF can continue to fund life saving research.”

Richard Denney, Executive Creative Director MullenLowe explains: “Heart disease is cruel and its scale is often underestimated by the public. Our new work aims to make sure that every medium used in this multi channel campaign, engages and resonates with the viewer to deliver the British Heart Foundation’s message.”

BHF Unexpected Credits

The BHF When You Least Expect It campaign was developed at MullenLowe London by executive creative director Richard Denney, creative team Andy Long and James Millers, agency producers Nicholas Kurs and Rose Reynolds, planner James Dawkins, account team Paul Wilde, Tom Lindo, Charlie Hurrell and Kirsteen Scoble.

Media was produced at PHD.

Designers were Elisabeth Bolzon, Rob Hare and Ryan Self.

Filming was shot by director Ed Morris via Rattling Stick with director of photography Federico Alfonzo and producer Dulcie Kellett.

Editors were Sacha Szwarc and Ellie Johnson at Speade.

Post production The Mill by executive producer Chris Batten, producer Evelyn O’Reilly, 2D lead artist Dan Adams, 2D artist George Rockliffe, production assistant Kate Michaelis, colourist Mick Vincent, and assistant colourist Thomas Mangham.

Audio post-production was done at GCRS by sound engineer Ben Leeves.