Title | NAMASTE FOR NEPAL |
Brand | SAVE THE CHILDREN AUSTRALIA |
Product / Service | NEPAL EARTHQUAKE APPEAL FUNDRAISER |
Category | B03. Branded Content & Entertainment Film |
Entrant | DDB Sydney, AUSTRALIA |
Entrant Company | DDB Sydney, AUSTRALIA |
Advertising Agency | DDB Sydney, AUSTRALIA |
Production Company | PASSION PICTURES Melbourne, AUSTRALIA |
Name | Company | Position |
---|---|---|
Toby Talbot | DDB Sydney | Chief Creative Officer |
Steve Jackson | DDB Sydney | Creative Partner/ Copy Writer |
Noah Regan | DDB Sydney | Creative Partner |
Ramon Rodriguez | DDB Sydney | Head of Design & Art Director/Designer |
Trong Ronakiat | DDB Sydney | Art Director |
Shane Geffen | DDB Sydney | Copywriter |
Leesa Murray | DDB Sydney | Art Buyer |
Sevda Cemo | DDB Sydney | Head of Integrated Content |
Robert Crispe | DDB Sydney | Content Creator |
Libby Hams | DDB Sydney | Project Director |
Tim Lunken | DDB Sydney | Project Manager |
Irena/ Will Kerr | DDB Sydney | Digital Producer |
Keira Tanko | DDB Sydney | Studio Manager |
John Robertson | Passion Pictures | Director |
Katie Mackin | Passion Pictures | Executive Producer |
A hand-drawn animation to encourage the public to participate in an online auction to help earthquake affected Nepal. It was important that our film was both based on a continuous line, symbolic of a seismograph and also that in itself, it was a piece of art, representative of the art auction it was intended to promote. To stay true to both of these elements, we firstly commissioned a Berlin based artist who is renowned for his continuous line drawings, then once we had the key frame drawings from our artist we animated them using a traditional hand drawn 2D technique in TV Paint. This, along with frame by frame rotoscoping, ensured we could achieve the fluidity, organic and natural movement of the line that helped bring the moments to life and may have otherwise felt contrived had we used digital animation. Finally, we assembled the animation in an After FX comp. The line thickness was refined depending on how close or wide the camera was, the line given an ink look and a real paper texture integrated into the background. The final compositing and online was completed in After FX. Final Cut Pro was used for editing throughout the process.