| Title | ASAHI - ENTER ASAHI |
| Brand | ASAHI PREMIUM BEVERAGES |
| Product / Service | ASAHI SUPER DRY |
| Category | A11. Visual Effects |
| Entrant | ALT.VFX Brisbane, AUSTRALIA |
| Idea Creation | THE MONKEYS | PART OF ACCENTURE INTERACTIVE Melbourne, AUSTRALIA |
| Media Placement | THE MONKEYS | PART OF ACCENTURE INTERACTIVE Melbourne, AUSTRALIA |
| PR | THE MONKEYS | PART OF ACCENTURE INTERACTIVE Melbourne, AUSTRALIA |
| Production | ALT.VFX Brisbane, AUSTRALIA |
| Production 2 | IN THE THICKET Sydney, AUSTRALIA |
| Production 3 | THE MONKEYS | PART OF ACCENTURE INTERACTIVE Melbourne, AUSTRALIA |
| Name | Company | Position |
|---|---|---|
| Dave Edwards | Alt.vfx | VFX Supervisor |
| Tyrone Estephan | Alt.vfx | Executive Producer |
| Adrianna Spanos | Alt.vfx | VFX Producer |
| Edel Rafferty | Alt.vfx | Colourist |
| Paul McMillan | The Monkeys Melbourne | CEO |
| Ant Keogh | The Monkeys Melbourne | COO |
| Wayne Ching | The Monkeys Melbourne | Creative Director |
| Joe Sibley | The Monkeys Melbourne | Art Director |
| Jess Ramsey | The Monkeys Melbourne | Designer |
| Mike Derepas | The Monkeys Melbourne | Head of Strategy |
| Romanca Jasinski | The Monkeys Melbourne | Head of Production |
| Anne-Maree Shelton | The Monkeys Melbourne | production coordinator |
| Lee Lowndes | The Monkeys Melbourne | Group Content Director |
| Navin Arunasalam | The Monkeys Melbourne | Content Director |
| Allan Carlow | The Monkeys Melbourne | Content Executive |
| Marco Prestini | Division Sydney | Director |
| Genevieve Triquet | In The Thicket | Executive Producer |
| Nick Simkins | In The Thicket | Producer |
| Stefan Duscio | In The Thicket | DOP Lighting Cameraman |
| Michael Iacono | In The Thicket | Production Designer |
| Joanna Mae Park | In The Thicket | Costume Designer |
| Michael Vousden | Asahi Premium Beverages | Marketing Manager - Beer |
| Michael Edmonds | Asahi Premium Beverages | General Manager, Marketing AUS / NZ |
The film takes audiences on a journey where imagination is not bound by reality. A world of giant squids, robot geisha, fierce warriors and loyal salary men. It avoids a traditional narrative, and took a more surreal, music-video inspired approach. The loose 'story' leads to a mysterious Japanese character who collects giant squid and owns a secret research facility dedicated to pruning the perfect Bonsai tree. The idea being that kind of perfectionist would favour precision-brewed Asahi.
The team worked with the director to help design and build the complex ‘one shot’ look, with everything from robotic geishas to a gigantic CG squid in the mix, alongside a seamless blend of CG set extensions and beautifully shot live action plates. Each scene has extensive VFX that blend the real with the imagination, and offer a beautiful spot that is testament to the power and creativity of the teams involved. One complex scene involves a character battling a gigantic underwater squid, which was done via a process known as ‘Dry for wet’ – a film technique in which smoke, colored filters, and/or lighting effects are used to simulate a character being underwater while filming on a dry stage.