1 - Coco Cola - Library

Credits:
Agency: Wieden + Kennedy, Amsterdam
Creative Director: Jorge Calleja
Creatives: Gregg Clamptter, Agse Altinolc
Agency Producer: Elissa Singstock
Production Co: MJZ, London
Director: Tom Kuntz
Telecine: Seamus O'LKane/Paul Harrison
Lead Flame: Richard Roberts/Gary Driver
3D: Jamie Lancaster

"Library" brings to life the silent flirtation of two teens connecting over a Coca-Cola while studying in a quiet library. They pass the boring study time by using their ink pins to draw characters on their hands and arms. The boy then draws a Coke® bottle on his arm and in response the girl pens a glass with ice cubes on hers. The drawings come to life as they reach across the table and touch hands as the now animated Coca-Cola pours out of the bottle drawing, down the guy's arm onto the girl's hand and into the glass she has drawn. They share a laugh. The spot reinforces how sharing a Coca-Cola connects people and brings a moment of happiness to an otherwise ordinary situation.



2 - Cadbury Dairy Milk - Eyebrows



3 - BugLight SuperMarket



4 - Aircel - Save the Tiger



5 - Idea - Save Paper



6 - Bingo Red Chilli Bijili Chips - Balcony



7 - Vodafone - College Results



8 - Incredible India



9 - Motorola Droid



10 - Pedigree

Labels: 2009, Commercial

10 - SFW-XXX




9 - Pepsi MS Dhoni



8 - Virgin YoYo



7 - PC Vs Mac(Bean Counting)



6 - Smirnoff




5 - Vodofone happy-to-help



4 - Sprite Xpress




3 - Pulsar Mania




2 - Bud Wassup 2008




1 - Bharti Indian

Labels: 2008, Commercial, TOP 10

1. Sony Bravia - Play Doh


2. Blockbuster


3. Vodafone - Mayfly


4. Snikers - Dont Stop


5. Airtel - Express yourself


6. Smirnoff - Sea


7. EPURON - Mr.Wind


8. Zune Intergalistic Swap meet


9. Visa


10. Motorola - Moto Razr

Labels: Animation, Clay Animation, Commercial, Motion Capture, Stop Motion, TOP 10

The Making of new Sony Bravia ad

2.5 tonnes of plasticine on set
40 animators
3 weeks
189 2ft bunnies
150 1ft cubes
10ft x 20ft purple wave
30ft giant rabbit.
6 cameras.
40 animators working through 4 hours generated 4 seconds of footage.
40 animators working on the same scene had never been attempted before.
The 60 second spot will be constructed of approximately 100,000 stills.

music : "Saeglopur" by Sigur Ros

Labels: Animation, Clay Animation, Commercial, Stop Motion

Hans Loosman, VFX Supervisor

"Ever since I read the storyboard I knew this would be the ideal opportunity to use 'motion capture'. A technique that can accurately record the movement and behaviour of actors, and store it in a digital format so the 3D department can use it to animate their characters.

Our lead animator Rolf van Slooten started testing some animation data we received from the motion capture studio. Importing that data turned out to couse no problems at all, even handling and adjusting the data went very smooth!

Because the life-action shoot would be shot with available light during magic hour and beyond, we started some 35mm tests to check if we still had enough focal depth and if our tracking software could still handle the low detail to extract an accurate camera track.

After showing the first tests to director Joeri Holsheimer, he was very impressed, not only because of the perfectly natural animations, but especially about the endless possibilities this would give him. Once the action was recorded it could be applied in every position and angle we could think of, without limitations!

The client was even more impressed and sent us off to Jeddah, Saudi Arabia, where we shot all the backplates, HDRI spheres, and took accurate mesurements of the surroundings. We used stand alone motion-trackers we specially developped for this project, which where made out of little LED lights, which lasted for over two weeks!

Back in Amsterdam the 3D team started designing the trafficlight man and motion-track the life-footage to extract the camera movement, while the director was editing the 90 second version next door. Performing the offline edit in-house was essential to the success of the commercial.

After the trafficlight man was final we headed over to Motek's motion capture studio, and spend two days recording the action with a team of 6 stunt coordinators, which gave us over 200 individual takes. Four of our animators started building over 3 minutes of animatics for the offline edit, and 4 of our compositors started cleaning up the backplates and removing all the motion trackers.

When all the shots were done we started adding in all the character animations and several traffic-lights. We decided to replace complete traffic-lights with new ones was easier than replacing parts of it. In the parking garage we needed to rebuild the bottoms of several cars to get the proper lighting of the men hiding underneath it.

On december 22 the job was done and the tape was send to Saudi Arabia. The commercial will be broadcasted for about one year.

Although the final commercial was always meant to be PAL (720-576) we did the whole post in HD (1920-1080) to get the best possible results in motion-tracking and compositing."

Labels: Animation, Commercial, Motion Capture