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Results 1 - 25 of 333
1. ‘Keep It Clever Australia’ Uses Animation To Promote Public Investment in Education

While animation is most often used as an entertainment form, it can also used to educate, and increasingly, to advocate for social causes. We saw animation yesterday for a gun safety PSA in the United States, and now we turn to Australia where Universities Australia is promoting its Keep It Clever Australia campaign to stress the value of public funding for university education and research.

0 Comments on ‘Keep It Clever Australia’ Uses Animation To Promote Public Investment in Education as of 4/10/2014 4:07:00 AM
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2. New Spots: Hermès by Julien Vallée and Honda by Smith & Foulkes

The following two spots attracted my attention for the inventive ways in which they mixed live-action with animation: "Metamorphosis" for Hermès, directed by Julien Vallée of Vallée Duhamel, and "Inner Beauty" for Honda, directed by the venerable production team of Smith & Foulkes through Nexus Productions.

0 Comments on New Spots: Hermès by Julien Vallée and Honda by Smith & Foulkes as of 3/27/2014 12:11:00 AM
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3. PES Sells Jewelry With Surreal, Morbid ‘Black Gold’

Leave it to PES, the whiz of the very-short short, to use the visual of a decomposing woman being colonized by insects as a way to sell earrings and brooches.

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4. Moonbot Delivers Feature Quality Animation for Chipotle’s “Scarecrow”

American food chain Chipotle eschews TV advertising and stopped using external ad agencies a few years ago, but when they create ad campaigns, they go all out. Their latest project is “The Scarecrow,” a game-and-film collaboration with Bill Joyce’s Moonbot Studios based in Shreveport, Lousiana.

“The Scarecrow”, conceived in collaboaration with CAA Marketing (a division of Creative Artists Agency), is a free arcade-style adventure game for iPad/iPhone/iPod Touch that encourages players to think about industrial food production and the processed foods that they consume. Players can win coupons for free Chipotle food if they achieve certain goals within the game. There’s also an accompanying short film directed by Brandon Oldenburg and Limbert Fabian, and music by Fiona Apple:

Like their earlier “Back to the Start” campaign, Chipotle’s “Scarecrow” campaign is being praised for putting across its message in an entertaining, classy package. Adweek says, “Branded entertainment goes doesn’t get much more well rounded or better executed than this.”

Moonbot, which won the animated short Oscar in 2012 for The Fantastic Flying Books of Mr. Morris Lessmore, has created a lush and well-conceived feature film-quality universe for The Scarecrow. The golden-hued nostalgia that defines the studio’s visual aesthetic is a perfect complement to the environmental themes of Chipotle’s campaign.

This making-of video reveals some of the effort that went into creating The Scarecrow:

0 Comments on Moonbot Delivers Feature Quality Animation for Chipotle’s “Scarecrow” as of 9/13/2013 6:10:00 PM
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5. Koji Morimoto Directs Sequence for Lexus-Sponsored Short Film

A little product placement can go a long way, as proven in Mitsuyo Miyazaki’s A Better Tomorrow, a short film about a pair of kidnapped orphans in a water-starved, not-so-distant future.

In the short’s third act, our young protagonists hop into a flying Lexus LF-LC (naturally) and escape their captors via an expressionist anime fantasy sequence directed by Koji Morimoto (Akira, Mmeories Animatrix) with music composed by Simon Webster. Produced by the Weinstein Company and sponsored by Lexus Short Films, the film premiered at Cannes earlier this year.

If you want to see the animated sequence by itself, here it is:

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6. Assembly Creates “The Devil’s Chair” Spot for New Zealand Insurance

NZI, a New Zealand-based insurance company recently unveiled a new television commercial its first in 8 years, titled The Devil’s Chair. In the darkly comic spot, a satanic desk chair brings misfortune to a series of businesses in an otherwise picturesque port town. An example of clever timing and wicked staging that is heightened with the realistic CGI style, it will hold up to multiple viewings and give you pause before bringing home anymore of that second-hand furniture you are so proud of. Produced by Auckland-based studio Assembly for the Draft FCB creative agency, it will also be re-versioned into campaigns for digital and print.

Draft FCB

Damon Duncan

Amanda Chambers

Rhys Dippie

Craig Speakman
Geoff Kirk Smith
Josh Fourt-Wells
Gary Sullivan
Alex Scollay
Mark Williams
Rhys Dippie
Damon Duncan
Joe Helmore
Craig Baxter
Pritish Dogra
Jonathan Hamer
Amber Kell
Patrick Blades
Eugene Tay
Kyle Dey
Josh Kell

Tony Clewett

Hywel James
Kelly Lovelock

Pip Mayne

Toby Sellers
Michelle Koome

Karl Armstrong
Donna Williams
Amanda Watts

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7. The GEICO Gecko Does Not Like Being Called A Cartoon

Sometimes a TV commercial is just a TV commercial. But not this time. This new spot for auto insurance company GEICO is noteworthy for its meta-humor about the animation art form with the ironic observation of a CG cartoon character who is offended by its less subtle 2D version.

The commercial works particularly well because it exploits the general public’s understanding (or lack thereof) of the animation process. Just like the GEICO Gecko himself, the majority of the general public probably would consider the computer-generated version of the character to be a wholly different beast than the hand-drawn version. In fact, this gag wouldn’t have even worked when the Gecko debuted thirteen years ago because the CG production standards of that time gave it the appearance of a more traditional cartoon character. It is only with technological improvements over time that the Gecko’s appearance has edged toward photorealism, a trait that is exploited in this current spot’s extreme close-ups that emphasize the character’s naturalism.

At the end of the day, both versions of these characters are animated, but there is perhaps some truth to the Gecko’s observation that one is a cartoon and the other is not. It raises some fascinating questions of what makes a cartoon character a ‘cartoon’? Is it its visual appearance, its behavior and personality, its production techniques? The question has become increasingly complex as traditional cartoon characters like Alvin and the Chipmunks have been reimagined as photorealistic animated characters that bear scant resemblance to their former cartoon selves. Can a cartoon cross over to being an animated character or does it always retain its original cartoon identity? I cannot pretend to have the answers, but the questions are intriguing.

(Thanks, Joel Calhoun)

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8. Meindbender and Techno Image Collaborate on Gillette Ad

Notwithstanding the grossout concept, this Brazilian Gillette commercial, titled “UFCecê: The League of Heavy Odors,” is a superbly attractive piece of computer animation. The spot was a co-production between Swedish studio Meindbender and Brazilian studio Techno Image. Meindbender’s singular approach to rigging cartoon characters, lighting and texturing pushes computer animation in an exciting new direction whose surface has barely been scratched. It’s good to see them spreading their technique to other production outfits around the world. Some behind-the-scenes artwork from the spot can be seen on Techno Image’s website.

Agency: Africa, Brazil
Art Director: Alê Prado
Creative Director: Eco Moliterno
RTV: Patricia Gaglioni

Production Companies: Techno Image, Meindbender
Executive Producer: Guilherme Proença, Michael Bengtsson
Directors: Pedro Conti, Tiago Hoisel, Derek Henriques

Character and Environment Design: Tiago Hoisel, Lucas Leibholz, Alexandre Assumpção, Saulo Brito
Storyboards: Lucas Leibholz, Tiago Hoisel, Alexandre Assumpção
Animatic: Derek Henriques, Alexandre Assumpção, Tiago Hoisel
Color Key: Tiago Hoisel, Lucas Leibholz
Photography Direction: Pedro Conti, Tiago Hoisel
CG Supervisor: Pedro Conti
Character Modeling/Texturing: Pedro Conti, Victor Hugo, André Paixão, Mariano Steiner, Bruno Melo.

Rigging: Calle Halldin
Animation Supervisor: Olov Burman
Animation Lead: Calle Halldin
Animator: Derek Henriques, Grzegorz Dalek, Eric Deuel, Ivan Oviedo.
3D Generalist: Grzegorz Dalek, Saman Mahmoudi, Stefan Ekstéen
Hair and Dynamics: Emanuele Niri
Environment Modeling: Alexandre Assumpção, Pedro Conti, Victor Hugo, Derek Henriques, Hernan Zuniga, Rafael Ghencev, Mike Verta.
Lighting and Rendering: Pedro Conti, Michael Bengtsson, Mike Verta
Compositing: Pedro Conti, Tiago Hoisel, Victor Hugo Queiroz, Derek Henriques
Audio: Sustain Studio, Lá no Estudio

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9. How Porter Airlines Bucks the Trend With an Animated Mascot

Porter, a regional Canadian airline, has quietly built a unique brand through print and animated ads featuring a jet-setting raccoon named Mr. Porter. I recently flew with Porter for the first time and was blown away by the entire experience; not only are their lounge areas filled with WiFi, free espresso and shortbread cookies, but TV screens display animated clips of Mr. Porter, flying from city-to-city, occasionally stopping to give the weather forecast before picking up his suitcase and heading to another destination.

Mr. Porter debuted in 2006, the work of London-based branding and design agency Winkreative. The graphic, black and white raccoon was just one part of a larger branding identity created to evoke the carefree feeling of retro air travel. Now, Mr. Porter is inseparable from the brand, showing up on the company’s brochures, water bottle labels and in-flight meal boxes. “Raccoons are intelligent, adaptable creatures that succeed in a variety of environments and unfavorable conditions, so our mascot choice was no accident,” said Porter founder and CEO Robert Deluce.

Porter is going against a trend afflicting many major brands; logos and mascots are becoming more and more reductive and impersonal. American Airlines, for example, has slowly transformed its eagle from a stylized illustration to an implied, decorative swoop. Similarly, the Quantas Kangaroo has become almost unrecognizable.

Mascots, whether realistic or graphic in style, definitely matter. When American Airlines recently retired its famous logo that was designed by Massimo Vignelli in 1967, Vignelli revealed that the company wanted a stylized eagle, something he was against—he believed that the eagle should be detailed down to the last feather. “I refused to do it. We started without it, and the pilots threatened to go on strike because they wanted the eagle on American Airlines,” Vignelli told Businessweek.

So why are so many companies shying away from punchy mascots that make a statement?  Perhaps they’re afraid that a personality-driven character makes it more difficult to control a company’s message. Yet in embracing Mr. Porter, Deluce has created a stronger sense of the company’s goals, even among employees, saying, “Everyone at Porter has a clear understanding of the brand.” Mr. Porter is intriguing, mysterious and charming, three very dynamic adjectives that could never be applied to the American Airlines eagle-turned-swoop.

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10. Mr. Clean In His Most Disturbing Appearance Yet

Speaking of cartoon mascots, this head-scratching take on Mr. Clean was concocted by Leo Burnett’s Toronto office and directed by Pete Riski at Sons and Daughters. While the ad isn’t noteworthy from either an animation or technical perspective, I’m oddly fascinated by how thoroughly creepy, stiff and unappealing they’ve managed to make this character. Perhaps that was the point.

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11. Mascot Makeovers: Good or Bad?

I was at my local Target the other day, and as I was passing down the cereal aisle, I came across this. General Mills is doing a “retro” promotion for its more popular cereals, like Lucky Charms and Cocoa Puffs, complete with the old designs of their mascots on the boxes.

There’s something undeniably charming about some of these old designs. Although seemingly crude on the surface, the simplicity of it all, from the geometric-like bodies down to the poses the characters are standing in make them more iconic than their current Disney-like proportioned, iris-eyed incarnations. And seeing them literally side by side on store shelves made it all the more jarring to me.

Nearly all advertising mascots have changed over the years: Tony the Tiger, the Vlasic Pickle stork, Scrubbing Bubbles, even a design so deceivingly simple as the Kool-Aid Man has had an overhaul:

Of course, most of these character’s designs evolved over the course of a few decades. Watch a Trix Rabbit commercial from the early 1960s and compare it to one from the 1970s, 80s, 90s and today, and you’ll notice how gradual the changes have been over the course of half a century. Larger commercial budgets, different ad agencies and animation studios, as well as graphic trends and the advent of digital animation have been contributing factors to these alterations.

A lot of characters, like the Keebler Elves and Toucan Sam, have even made the big leap from 2D to 3D. While many people have collectively poo-pooed the CG makeovers of some of these classic characters, I personally find that most of them still retain their traditional charm. Take this new Froot Loops commercial for example:

Some makeovers are a bit harder to digest:

But in this day and age, we seem to be embracing the past more than ever. Childhood nostalgia has become a new marketing strategy for advertising companies, and consumers are eating it up (no pun intended). Why else would General Mills revert to utilizing these vintage designs on their boxes? Some companies are even “re-aging” their mascots, making them look like their former selves, while still refurbishing them for the 21st century.

Who’s your favorite advertising mascot and what do you think of their modern makeovers? Share your thoughts!

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12. Special K Cereal Spot by Peter Sluszka

Even though origami is the flavor of the moment—even McDonald’s is doing it—the sheer amount of labor involved in producing this Special K stop motion spot makes it rather impressive. It was directed by Peter Sluszka at New York-based Hornet Inc.

There’s a making of video in which you can listen to ad agency and marketing peope waxing eloquent about work that they didn’t do. The director Sluszka offers the best comment in the video: “What it really requires is hours of people folding paper.”

Production Companies: Hornet Inc/Blinkink
Director: Peter Sluszka
Executive Producer: Jan Stebbins
Producer: Zack Kortright
Line Producer: Joel Kretschman
Editor: Anita Chao
Art Director: Mandy Smith
Director of Photography: Ivan Abel
Lead Compositors: Peter Fink, John Harrison
Compositors: Adam Yost, Yussef Cole
Roto Artists: Ted Wiggins, Rafael Mayrhofer
Storyboard Artist: Carlos Ancalmo
Motion Control Operator: Richard Coppola
Gaffer: Michael Yetter
Best Boy Electric: Casey Wooden
3rd Electric: Jarod Kloiber
Key Grip: Matt Walker
Best Boy Grip: Matt Cryan, Brian Yost
3rd Grip: Bob Blankmeir
Animators: Hayley Morris, Matt Somma, Kevin Coyle
Fabricators: Connie Chan, Ben Kress, Ben Friesen, Peter Erickson, Junko Shimzu, Michaela Olsen
Art Deptartment Assistant: Kevin Coyle
Food Stylist: Elizabeth Bell
Food Stylist Assistant: Mireya Acierto, Brett Regot
Production Assistant: Tim Kuhl, Eric Duke, Rafael Mayrhofer
1st AC: Nate Spengler
Phantom Tech: Mark Sashara

Advertising Agency: Leo Burnett
Creative Director: Karen Reed and Natasha Ali
Executive Creative Director: Mylene Pollock
Copywriter: Liam Bushby and Alison Stevens
Art Director: Liam Bushby and Alison Stevens
Account Team: Carly Pritchard, Dominique Gomes, Sofia Sarkar
Project Manager: Gaynor Goldring
Planner (Creative Agency): Olivia Heywood and Charlie Kirkbride
Agency Producer: Serena Schellenberg

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13. Titmouse Creates A Fresh Look for This Lancôme Spot

Titmouse created this lively spot to promote a collaboration between Lancôme and designer Alber Elbaz (who makes a cameo). Watch in HD for full effect. Production credits to come.

0 Comments on Titmouse Creates A Fresh Look for This Lancôme Spot as of 6/11/2013 8:17:00 PM
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14. Steve Carell Promotes “Despicable Me 2″ as Gru on “The Ellen DeGeneres Show”

Here’s a new way of promoting an animated movie: having a voice actor dress up as their character for a talk show appearance. That’s what Steve Carell did on The Ellen DeGeneres Show last week when he appeared as Despicable Me 2′s Gru.

(Thanks, Jen Hurler, via Cartoon Brew’s News Submission Forum)

0 Comments on Steve Carell Promotes “Despicable Me 2″ as Gru on “The Ellen DeGeneres Show” as of 6/5/2013 3:25:00 AM
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15. Creative MetLife Spot Starring Snoopy

Snoopy and the rest of the Peanuts gang have been spokestoons for the insurance giant MetLife for nearly 30 years. The ads are rarely anything beyond the ordinary, but this latest one has an inventive conceptual approach that I liked.

Ogilvy & Mather-owned Redworks produced the spot, and Polish studio Platige Image provided visual effects/post work.

Director: Sam Tootal
Agency: Ogilvy + Mather
Production house: Redworks
Postproduction house: Platige Image
Producer: Kasia Chodak

(Thanks, Michael Blake)

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16. Artist of the Day: Joanna Quinn

Joanna Quinn

Millions of people are likely to be familiar with the colorful cartoon bears that savor wiping their butts with softer than average toilet paper. Joanna Quinn is the character designer and animator behind the original commercials that feature the hand drawn versions of these characters. The Charmin bears have recently been transitioned to CGI, arguably resulting in less charm. There’s nothing wrong with the new ads, but they just can’t supply the human element that the graphite smeared drawings of the originals carried with them directly from Joanna’s pencil to the television screen. The production company responsible for the new approach is not Joanna’s, although she is credited as a creative consultant.

I’m curious about the progression that the designs took from Joanna’s pencil animation to Joanna’s animation cleaned up and colored in a slicker fashion (see the “new look” commercials on her website), to CG characters, and what the driving forces behind the decisions to change the art over time could have been.

If the original designs had been created with a slick commercial sheen from the beginning, like your average cereal mascot ad, then there would be nothing to discuss here. But because they started with the distinctive pencil work of Joanna Quinn, it seems strange to buff out the roughness and individuality over time until eventually removing her unique stamp from the work entirely. Is it simply an inevitable progression? An example of typical corporate decision making? Does slicker work sell more rolls?

Dreams and Desires by Joanna Quinn

Fortunately, besides creating commercials, Joanna’s larger interest is undoubtedly creating her personal, funny, and expressively drawn films. Above are stills from her short film Dreams and Desires: Family Ties which she directed and animated with additional animation by Andy McPherson.

Joanna Quinn

On her Beryl Productions website you can see a selection of production art from some of her films such as the above layout drawings from Famous Fred, which is also available there to watch in full.

Joanna Quinn

Joanna Quinn

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17. New Animation from Iran by Moin Samadi and Mehdi Alibeygi

These two pieces of animation from Iran caught me by surprise because they are so different from the rest of the animation I’ve seen from that country. The first is a commercial for Lina Luke snack food directed by Moin Samadi. It has been accepted into this year’s Annecy Animation Festival:

The next is an energetic and funny hand-drawn piece called Evolution by Mehdi Alibeygi.

Director, Writer, Animator: Mehdi Alibeygi
Executive Producer: Moin Samadi
Sound and Music: Armin Bahari
Composite: Sare Shafipour
Logo Designer: Amin Maftoon
Produced by Raiavin Studio

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18. Reel FX Begins Promoting Its First Feature “Free Birds”

Reel FX and Relativity Media are sparing no expense when it comes to promoting Free Birds, Reel FX’s first animated feature which will be released theatrically in November. At CinemaCon, the Las Vegas convention for theater owners, they unveiled a 3D-printed display of the film’s main characters, who are voiced by Woody Harrelson and Owen Wilson. It certainly puts your average cardboard-based theater display to shame, and gives one optimism that they’re putting a high level of effort and care into the actual film itself. These photos of the display appeared on Collider.com.

(h/t, Sarah Marino)

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19. Pandistelle

At the beginning of this year I was called for a very fun project!
Pandistelle, one of Italy's most famous cookies turned 30 years old. To celebrate, Barilla alonside the nice people of creative agency "I Mille", called 12 artists to illustrate every month of the new year for their online magazine and Facebook page. Mine was for the month of April.

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20. Artist of the Day: Andy Rementer

Andy Rementer

Andy Rementer is an illustrator and animator who studied at The University of the Arts and produces illustrations, prints, zines and animation.

Andy Rementer

An ad, “Gator Behavior,” animated by Andy, is simple, fun, and smile-inducing, just like Andy’s illustration work:

Compare the commercial below, which features some of Andy’s characters modeled in 3D, animated by a team that was probably put together by an ad agency. I can’t help but think that this spot’s characters could have had much more life in them in the hands of one 2D animator (such as Andy), as demonstrated in the above “Gator” video. Drawn animation seems to be the logical choice for animating designs like these:

Andy Rementer

You can see more videos from Andy here, paintings and sketchbook work here, and check out his portfolio here.

Andy Rementer

Andy Rementer

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21. Oreo “Wonderfilled Anthem” Directed by Martin Allais

If there’s anything that can both dazzle my senses and make me crave Oreos, it’s this 90-second animation for Oreo’s new “Wonderfilled” campaign, directed by Martin Allais and his production company Studio Animal. Animated to a jaunty tune performed by Owl City, the spot is filled with wonderfully stylized animation, a fantastic sense of design, fun transitions, and eye-popping colors from beginning to end. And much like the classic commercials of yesteryear, it makes me WANT to buy the product it’s selling.

Global Marketing Communication:  Jill Baskin
Brand Marketing Director: Janda Lukin

Agency Credits
Chief Creative Officer: Joe Alexander
Group Creative Director: Jorge Calleja
Creative Director: David Muhlenfeld
Creative Director: Magnus Hierta
Senior Art Director: Brig White
Planning Director: John Gibson
Managing Director: Steve Humble
Senior Broadcast Producer: Kathy Lippincott
Broadcast Producer: Heather Tanton
Broadcast Junior Producer: Caroline Helms

Production Company: Studio Animal
Director: Martin Allais
Producer: Maria Soler Chopo
Illustration: Martin Allais
Storyboards: Martin Allais
Animatic: Pere Hernández, Javi Vaquero, Matt Deans
Animator: Pere Hernández, Javi Vaquero, Pablo Navarro, Dani Alcaraz
Tracing and color:Ezequiel Cruz, Macarena Ortega, Eva Puyuelo, Joel Morales
Compositing: Santi Justribó Martin Allais

Music (performed by): Owl City (Adam Young)
Voiceover talent: Owl City (Adam Young)
Original Music and Lyrics: David Muhlenfeld (English Major, LLC)

0 Comments on Oreo “Wonderfilled Anthem” Directed by Martin Allais as of 5/17/2013 11:43:00 PM
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22. “Wacky Races” Peugeot Ad by Partizan

Here’s an recent car commercial for the Peugeot 208 by Partizan, where the car outperforms the cast of Wacky Races. While it’s kinda fun to see these characters and their outlandish vehicles being translated into live-action, it’s a bit horrifying seeing these real-life versions of the characters getting into this ultra-realistic crashes and fiery explosions. At least puppet Muttley made it through in one piece.

Client: Peugeot
Product: Peugeot 208
Title: Wacky Races
Agency: YR Brasil
Creative VP: Rui Branquinho
Creative Director: Victor Sant’Anna/ Rui Branquinho
Creatives: Fabio Tedeschi/ Leandro Camara/ Felipe Pavani/ Victor Sant’Anna/ Rui Branquinho
Agency Producer: Nicole Godoy
Production Company: Partizan/ Movie & Art
Director: Antoine Bardou-Jacquet
DOP: Damien Morisot
Executive Producer: Douglas Costa/ David Stewart, Paulo Dantas
Editor: Bill Smedley
Post production: Electric Theatre Collective
Music: A9 Audio
Music Producer: Apollo 9/ Henrique Racz
Sound Design/Final Mix: Factory UK

For comparison, here’s the opening to the original 1968 television series:


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23. “Wacky Races” Peugeot Ad by Partizan

Here’s a recent car commercial for the Peugeot 208 produced by Partizan and commmissioned by Y&R Brazil, where the car outperforms the cast of the 1960s Hanna-Barbera TV series Wacky Races. While it’s kind of fun to see the characters and their outlandish vehicles being translated into live-action, it’s more than a bit horrifying seeing these real-life versions of the characters suffering ultra-realistic crashes and fiery explosions. At least Muttley makes it through in one piece.

Client: Peugeot
Product: Peugeot 208
Title: Wacky Races
Agency: Y&R Brasil
Creative VP: Rui Branquinho
Creative Director: Victor Sant’Anna/ Rui Branquinho
Creatives: Fabio Tedeschi/ Leandro Camara/ Felipe Pavani/ Victor Sant’Anna/ Rui Branquinho
Agency Producer: Nicole Godoy
Production Company: Partizan/ Movie & Art
Director: Antoine Bardou-Jacquet
DOP: Damien Morisot
Executive Producer: Douglas Costa/ David Stewart, Paulo Dantas
Editor: Bill Smedley
Post production: Electric Theatre Collective
Music: A9 Audio
Music Producer: Apollo 9/ Henrique Racz
Sound Design/Final Mix: Factory UK

For comparison, here’s the opening of the original 1968 television series:

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24. Sudafed “Big Head” Spot by Assembly

A Sudafed commercial may not be the pinnacle of artistic achievement, but the care and attention to detail in this commercial elevates it beyond typical pharmaceutical marketing. Auckland, New Zealand-based Assembly created the :30-second ad “Big Head” for the JWT Sydney agency. It was directed by Matt von Trott with modeling and animation by Josh Fourt-Wells, Geoff Kirk-Smith and Gary Sullivan.

The ad is refreshingly simple—just one shot until the cut to the product at the end—with strong visual concepts and loose animation that is animated on twos for enhanced cartoon effect. The character who makes the silly face at the end and pushes the cup behind the water cooler with his foot is a delightful and unexpected bit of characterization that is all too rare in advertising nowadays.

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25. Cartoon Network’s Summer Ident Is Created by Indie Animators

For this summer station ident, Cartoon Network hired various international animators and commercial studios to animate ten seconds’worth of their network’s characters. The animation was later stitched together into the 60-second piece you see above. The artists and studios that contributed were Alex Grigg (England), Eamonn O’Neill (England), Impactist (US), CRCR (France), Awesome Inc. (US), and Rubber House (Australia). It’s encouraging to see this kind of creative cross-pollination happening between the commercial mainstream and indie animation communities. It marks the second time in recent months that CN has collaborated with independent artists, the first being David OReilly’s episode of Adventure Time.

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