In this spot for Northwest Airlines' seats, an office transforms into a living room, dining room, a bedroom and finally an airplane seat in a smooth and modern space, where no matter is gained or lost, and every element transforms into a different one. For example, the apple on the desk in the office space rolls off to become a vase in the living room, a glass of wine in the dining room and a lamp in the bedroom before eventually folding into the base of the airline seat. Breaking the scenes down into elements, the true transformations happened in photo-real CG, making it look as smooth and gorgeous as we wish air travel could be.
Visual Effects Supervisor: Josh Frankel Executive Producers: Rick Wagonheim, Camille Geier Visual Effects: rhinofx/N.Y. Director: Arman Matin/rhinofx, N.Y. Agency: Carmichael Lynch/Minneapolis CD: Jim Nelson CW: Brian Tierney AD: Brock Davis
In this trippy, atypical car commercial, a yellow Hummer evolves into a charcoal suburban utility truck in a Rubik's cube revolution. It spins, fragments and kaleidescopes like a band of synchronized swimmers, as a techno beat also transforms into a guitar riff. Fragments break off and become part of the background while the SUTs fly around the screen, and a road appears beneath the final vehicle. By blending live action and computer graphics, the animators at Stockholm's Filmtecknarna certainly gave something more to look at than a simple jaunt down a deserted mountain road.
Directors: Boris Navratil, David Nord Executive Producers: David Starr, Meredith Brown Animation Company: Filmtecknarna Production Company: Filmtecknarna/Curious Pictures Producers: Sherri Levy, Sussi Granlof Agency: Modernista!/Boston ECDs: Lance Jensen, Gary Koepke CWs: Shane Hutton, Lance Jensen ADs: Will Uronis, Gary Koepke
The Mill's London and New York offices collaborated on this heavyweight effects spot, which shows thousands of birds descending on one couple feeding popcorn in the park. As part of the research process, 3-D artist Ben Smith spent a day with a pigeon expert to look at anatomy and wing structure to populate the flock. The birds, including black birds, cow birds and starlings, were of different resolution to represent depth of field, and performed animated acts designed by Dadi Einarsson such as pecking, walking, perching and landing. The result is an enormous mass that would make Hitchcock jealous.
VFX Supervisor: Aron Hjartarson, Lorraine McLaughlin Lead Flame: Angus Kneale, Stefan Coorey 3-D: Jordi Bares, Aron Hjartarson, Dadi Einarsson, Arlene Persaud, Ben Smith, Laurent Makowski Telecine Artist: Fergus McCall Producers: Verity Grantham, Melanie Wickham Visual Effects: The Mill/N.Y. Agency: Fallon/Minneapolis Group Creative Director: Jon Wyville CD: Bruce Bildsten CW: Mike Ward AD: Bobby Appleby Director: Matthiys van Heijningen/MJZ, L.A. Executive Producers: David Zander, Jeff Scruton Editor: Jono Griffiths/Johnny Bongo, London