Clemenger Sydney Tasked EA to create a print and motion campaign showing a Tim Tam’s popular bite-sized cookie “headline” splashing down into a pool of chocolate. Stephen Stewart shot the biscuit and cream textures, which EA used to create larger scale versions in CGI, and through intricate sculpting, shading and retouching brought the realism and taste appeal everyone was looking for. Agency Credits: Sr. AD: Ollie Beeston; Sr. CW: James Beswick; Sr. Producer: Paul Whelan
Jet.com offers an online shopping experience that will blow your mind. That’s the premise behind a new campaign Scott shot via R/GA that is being plastered all over major markets at the moment. The agency brought in Vault49 to handle the CGI, compositing and retouching. R/GA ACD’s: Mike Donaghey & Chris Joakim; Sr. Art Producer: Tamara Lund; Production: Berns Rothchild; Hair Styling: Alberto Guzman; Make-up: Spring Super; Wardrobe: Rebecca Palmer; Vault49 ECD: John Glasgow; Sr. Designer: Edvin Puzinkevich
Chobani AD Lynsay Reynolds tasked Kolenko to create two series of images for carousels on Instagram that would appear as though they were a panoramic view of a tabletop and kitchen workspace that morphed from morning to evening, and from residential kitchen to commercial kitchen, respectively. Each image highlights a different use of Chobani product and was shot separately. By clever use of talent, lighting and styling cues, the individual images connect to the others to create a seamless, transitional effect. Other credits include: Brand Communications: Hilary Dupont, Ashley Butler and Jessica Laurie; Creative: Thomas Stevens; Food Styling: Alison Attenborough, Prop Stylist: Maya Rossi; Producer: Berns Rothchild
The headline for this CGI campaign from Cramer Krasselt/Milwaukee to introduce the new RXT model from Sea-Doo is “Be the Machine”, which is to emphasize the ergonomically minded design of the vehicle (ie: angled foot panels and deeper knee wells) that allow the rider with a tighter fit and profile for greater performance. EA designed the rider’s costume to meld with the parts of the vehicle where they intersected and help communicate aggressiveness and speed while paying off the headline’s premise. GCD: Ned Brown; CD: Nick Marrazza; AD: Brian Steinseifer; Sr. Art Producer: Karen Kirsch
Just spotted on newsstands. Anyone want to go to Portland?
EA created CGI backgrounds and headline fonts to match that of the TV commercial, then the CGI hero products, and blended them together with droplet imagery from their extensive stock library to make these V Energy Drink visuals a reality. Not bad for a day’s work….
Eating Kellogg’s Frosted Mini Wheats will help you reach your inner child. Really! At least that’s the premise of the concept behind this effort from Leo Burnett, shot by Scott and Art Directed by Ryan Bloeker. Can Zack & his team execute to match a comp if that’s what the agency requires? You be the judge.
Tasked with the challenge of creating water figures in motion that morph into reality for Zip Water, Joy Agency CD Steve Back and AD Brett Edwards called on Electric Art for the solution. EA used a combination of stock imagery, figures shot by Andreas Smetana, plus water reference from the EA library to make it happen.
Sculpting 3d models from the base photography, they then manipulated them into the different phases of movement, and finally, composited water reference into the figures and retouched them to create the realistic effect.
Saatchi & Saatchi Sydney provided the wireframes and backplates, and asked EA to apply their CGI skills to breathe life into the vehicles, place them in their respective environments, then retouch the scenes to create the seamless believability that resulted. Vroom, vroom! (Sorry, Mazda). Agency Design Director: Tod Duke-Yonge
Brazilian agency WF/Motta Comunicacåo called us during the viral days of Zack’s New York Times Magazine images to see if they could use the work for a campaign they had devised for Energil, a vitamin supplement. They wanted to enter the campaign in the Cannes Advertising Awards Festival, and ended up purchasing rights to do so for three of the images. We think the campaign is a hoot, and wanted to share it here. The Granny image ended up get short-listed for Photography in the awards http://bit.ly/1Nvflj0 - a significant achievement in and of itself, and we made some friends in Brazil through the process. Art Director: Alexandre Henrique