Title | OZWEEGO RE MAKE TOMORROW |
Brand | ADIDAS |
Product / Service | ADIDAS OZWEEGO |
Category | G05. Motion Graphics Design & Animation |
Entrant | FIN DESIGN + EFFECTS Sydney, AUSTRALIA |
Idea Creation | HYPEBEAST Hong Kong, HONG KONG SAR |
Production | FIN DESIGN + EFFECTS Sydney, AUSTRALIA |
Name | Company | Position |
---|---|---|
Alastair Stephen | Fin Design + Effects | Head of Visual Effects |
Isabelle Howarth | Fin Design + Effects | Producer |
Campaign to promote the new adidas originals OZWEEGO for the Chinese market. The commercial features a star-studded cast of C-pop idol Jackson Yee, Japanese influencer Lala Takahashi, and rapper-producer Dough-Boy. A series of montages show the evolution from the 1998 classic OZWEEGO to the new futuristic design. In line with this theme, a modern 3D printer replaces the traditional chisel and hammer Jackson Yee uses to craft the new shoe. Other playful sequences include adidas-clad mannequins springing to life to march alongside Lala Takahashi, and Dough-Boy morphing into cuboid graphics as he performs on stage. We were tasked with creating the futuristic flourishes to complement the theme
Adidas is reworking the past to create a new future - achieved by updating and re-releasing the 1990s Ozweego shoe. The theme is reworking the past to create a new future. A series of montages show the evolution from the 1998 classic Ozweego to the new futuristic design. In line with this theme, a modern 3D printer replaces the traditional chisel and hammer Jackson Yee uses to craft the new shoe. Other playful sequences include adidas-clad mannequins springing to life to march alongside Lala Takahashi, and Dough-Boy morphing into cuboid graphics as he performs on stage. Target audience: 16-30yo
The film required us to cover a whole range of CG and animation disciplines. It made for an interesting palette of design, ranging from more abstract sequences such as the cuboid figures, which were achieved in Houdini, to the more traditional photoreal effects such as the mannequins, which we achieved in Maya. We executed most of the work in Houdini – for example where the old OZWEEGOs evolve into the new model – as it was well-suited to the design-centric nature of the project. All final compositing was completed in Flame
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