Pharma agency Area23 asked Cream Electric Art to create a CGI knight in armor to represent the efficacy of Glyxambi in helping fight the high blood sugar typical of Type 2 diabetes patients. CEA designed the coat of armor the knight (& horse) would wear, along with the decidedly hi-tech lance the knight possessed, and built the powerful images of the stead using multiple photographs of the horse, shot by Gary Heery. Other credits include: ACD: James Corbett | Art Supervisor: Katherine Kennedy | Art Producer: Denise Bosco | Stills Production: Chee Productions
Cream Electric Art was recently commissioned by M&C Saatchi Sydney to create 3D imagery of a variety of cancer cells for a campaign to raise awareness for and donations to the Australian Cancer Research Foundation. The results are not only interesting and attention grabbing, they show nature’s beautiful design sense and could have a comfortable fit on the walls of a contemporary art gallery, if not for their deathly connection. CD: Emmanuel Bougneres | SAD: Tristan Cornelius | CW: Jonathan Seidler | Integrated EP: Gemma Hayes | Lead Integrated Producer: Greg Hyslop
Here are some of the ads…
Made Movement called on Cream Electric Art to generate twenty different 3D objects to feature the creative and technical capabilities of Lulzbot 3D printers to consumers for their “Make Anything” campaign, which kicked off with a media takeover of a San Francisco transit station. Starting with client-provided CAD files for most of the objects, CEA finessed them to add the slight imperfections, printing strata and other textural details necessary to make them feel as if they’d come directly from a Lulzbot printer. CEA then animated a number of the objects to work seamlessly over a triptych of digital displays in a continuous loop. CD’s: Nate Bruning & Steve Dolan | AD: Matt Alexander | CW: Myles Rigg | Agency Producer: Amy Mainero
Here are a few of our faves from the bunch:
Cream Electric Art created custom CGI toolbox letterforms and blended them seamlessly into a provided background plate for this ad for New Holland Tractors via Roloc Agency. CD: Darren Seddon
Host/Sydney provided existing stock and product photography to CEA and tasked them with compositing and creating a consistent, retro color grade across all of these executions for Pampelle, an aperitif made from Ruby Red grapefruit, which were then animated for the company’s website. CD: Kirsty Gavin | AD: Effie Kacopieros | Agency Producer: Anna Francis | Beverage Photography: Craig Wall
Reflecting the changing attitudes about cannabis and the marketing opportunities that affords, Kitchen Toke Magazine is the first magazine focused on cooking with cannabis and chose Kolenko to help with one of their early issues. The weed-infused dishes are a far cry from the box-brownies of yesteryear! Credits: Joline Rivera, Founder/CD | Valerie Aikman-Smith, Food Styling, | Gena Sigala, Props.
Here are a few faves from the shoot.
The folks at Gorilla invited Cream Electric Art to take a crack at building these little vignettes of heaven to communicate the softness of Quilton toilet tissue. CGI versions of the flowing tissue were added to existing photography of baby and clouds and finessed in Photoshop to create the sweet moments - a far cry from Mr. Whipple squeezing the Charmin! CD: Rudi Vranken
Spark 44 Sydney called on Cream Electric Art to literally make a deer disappear for a TV commercial for the Jaguar F-Pace. The CG generated deer was placed into a provided video environment with surprising results. Director: Brett Danton | CD: Matt Johnson
Creaytive Melbourne brought this dream brief for Mars to CEA. Mars sponsors the Melbourne Renegades, the local professional cricket team, and wanted to tie their product conceptually to the game, to capture the energy of the sport while at the same time, having taste appeal. CEA created this photo-real cricket ball version of a Mars bar totally in CG, with some nuanced finessing in photoshop to get the desired look. Batter up! CD: Chris Reay
Panera brought Eva back to shoot a national in-store and OOH campaign to introduce a new line-up of breakfast sandwiches in January. The campaign was greeted with much fanfare, as the brand employed the brilliant strategy of requesting a declaration from the FDA on what constitutes a “real” egg as the new creative was unveiled. Turns out that many of Panera’s competitors use egg “products” that contain a variety of non-egg additives, which spurred Panera to make the case to the FDA that they shouldn’t be allowed to call them “eggs”. In contrast, Panera’s products only use the “real” thing, which was dramatized in the photography by showcasing the imperfect, natural shape of the cooked product and broken yolks in some of the imagery.
In addition to the new sandwiches, the POP materials also featured the ubiquitous baked goods, salads, and other offerings from the restaurants. Creative Credits: Agency: Willoughby Design | CD: Zach Shubkagel | AD: Angela Snyder | Designer: Gaby Saravia | Acct. Mgr: Jamie Housh
The Out of Home and digital campaign went further to feature the elements of the breakfast line-up in their natural state alongside prepared dishes, which appeared in transit centers in NYC and in a station take-over to tempt commuters… Just try to get to work without stopping in for a hot brioche with fresh egg, cheese and bacon on it when you are surrounded by Kolenko’s mouth watering food at every turn!
Agency: Anomaly | AD: Dylan Ostrow | CW: Turan Tuloy | Art Producer: Jen Ruske | Production Credits for OOH and In-store: Food Stylist: Erin Quon | Props: Natasha Kolenko | Producers: Carmel Bergholz/Shannon Riley