Title | TREE |
Brand | CHALLENGER |
Product / Service | ANNUITIES |
Category | A10. Animation |
Entrant | FIN DESIGN + EFFECTS Sydney, AUSTRALIA |
Entrant Company | FIN DESIGN + EFFECTS Sydney, AUSTRALIA |
Advertising Agency | 303LOWE Sydney, AUSTRALIA |
Production Company | FIN DESIGN + EFFECTS Sydney, AUSTRALIA |
Name | Company | Position |
---|---|---|
Stuart Barton | Challenger Limited | General Manager Corporate Marketing And Communications |
Amanda Irving | Challenger Limited | General Manager Marketing Strategy And Services |
Lisa Tran | Challenger Limited | Brand Campaign Manager |
Richard Morgan | 303 Lowe | Executive Creative Director |
Chris Mcmullen/Veronica Copestake | 303 Lowe | Art Direction |
Veronica Copestake/Sean Larkin | 303 Lowe | Copywriters |
Sean Ascroft | 303 Lowe | Agency Producer |
Jon Mckie | 303 Lowe | Strategic Planning |
Karen Russell | 303 Lowe | Business Management |
Inger Christensen/Steph O'donnell/Sophie Hohnen/Rocky Vu | 303 Lowe | Media |
Adrian Lawrence/Stuart White | 303 Lowe | Directors |
Stuart White | Fin Design And Effects | Cinematographer/3d Supervisor |
Adrian Lawrence | Fin Design And Effects | Art Director |
Adrian Lawrence/Tim Streets | Fin Design And Effects | Concept Art |
Tim Streets/Colin Ware | Fin Design And Effects | 3d Modelling And Texturing |
Shane Brouwer/Gerard Van Omen Kloeke | Fin Design And Effects | 3d Rigging |
Bastian Konradt | Fin Design And Effects | 3d Lighting |
Maurice Giacomini | Fin Design And Effects | 3d Animation |
Richard Betts | Fin Design And Effects | Flame Artist |
Billy Becket | Fin Design And Effects | Executive Producer |
The Tree TV commercial is a short financial fable about the risk of outliving your retirement savings and how Challenger annuities can provide a guaranteed income for life. As portrayed by our origami couple, the apple orchard represents their retirement savings. Time passes, the trees tire and the apples wither; and they fear that their savings will not be enough to sustain them. As they leave their barren orchard behind, they stumble across a flourishing apple tree which replenishes after each pluck, epitomising the guaranteed lifetime income offered by annuities.
The Challenger spots were executed in the style of stop motion animated origami. Due to the need to constantly revise the visuals and storytelling during the schedule, a 100% CGI approach was decided upon early in production. To ensure that the visuals remained authentic, much of the design process was carried out with pencil sketches and real origami props. Great care was taken to duplicate the minute tears and creases that appeared on the real paper props when they were recreated in the computer and all character animation was done on doubles (12fps) to mimic stop motion technique. This approach also held true with the lighting and cinematography. The lens properties were crafted to emulate a 1970s anamorphic lens while the lighting fixtures duplicated real world equivalents such as Redheads and Kinos. The lighting style was stripped down and contrasty to add drama and help guide the viewer’s eye to the action. Great care was taken to try and make one single spotlight do as much of the work as possible in each shot, with supporting lights added strictly as necessary.