Title | WARM HANDS |
Brand | CHUGAI PHARMACEUTICAL CO. LTD |
Product / Service | SUPPORT MOVIE FOR CANCER PATIENTS AND HEALTHCARE PROFESSIONALS |
Category | C01. Corporate Image & Communication |
Entrant | INSIGHT-I INC. Tokyo, JAPAN |
Idea Creation | INSIGHT-I INC. Tokyo, JAPAN |
Idea Creation 2 | CHUGAI PHARMACEUTICAL CO., LTD. Tokyo, JAPAN |
Production | DWARF Tokyo, JAPAN |
Post Production | IMAGICA LAB Tokyo, JAPAN |
Name | Company | Position |
---|---|---|
Junichi Takano | Chugai Pharmaceutical Co. Ltd | Executive Producer |
Yuki Ono | Insight-I Inc | Creative Director |
Hiroshi Nishi | Insight-I Inc | Account Executive |
Hiroko Yakuwa | Insight-I Inc | Art Director |
Tsuneo Goda | dwarf | Director & Character Designer |
Hiroyuki Mizoguchi | Studio Placebo | Animator |
Koji Shimoi | Studio Placebo | Set Designer |
Yasuyuki Suzuki | Freelance | Director Of Photography |
Hiroshi Kobayashi | Freelance | Lighting Director |
Masako Sekiguchi | Studio Placebo | Stopmotion Camera Operator |
Katsumi Nagai | Studio Placebo | Composite |
Takahito Kurobe | McRAY | Color Grading |
Makoto Hoashi | IMAGICA Lab. | Online Editor |
Fumio Yasue | Freelance | Sound Effects |
Tsuyoshi Nishikori | Studio Placebo | Animation Producer |
Ayano Kinashi | dwarf | Producer |
Masayoshi Yamazaki | EMI Records, UNIVERSAL MUSIC LLC / Office Augusta Co.,LTD. | Music |
Takeshi Yoshida | Q., ltd | Music Producer |
Kotaro Mukai | Office Augusta | Music Director |
A patient spends a sleepless night in her hospital room. " I got cancer... I am scared". She hesitates to send out this message on social media, sighs and closes her eyes. Suddenly she is on a mountain. She seems to be walking up to the summit. She encounters many obstacles on the way. By getting help from different animals, she is able to go forward. What the patient sees at the summit is...
To transmit the message, the concept was a picture-like book story that never fades. To convey the feelings delicately, we paid attention to each doll's emotional expressions. Stop motion animation is like every moment of life. We carefully photographed the movements and facial expressions one by one over time, ending up with a total of 31,138 shots while shooting 50 days. Why we chose stop motion: with real actors, the story wouldn't have the delicate feel needed and would be too "raw". If we used cartoons, it would have been too "pop". Using stop motion enabled us to approach a dramatic episode with a more positive and softer outlook. The set for the scene where the woman ventures in the forest was challenging. Taking advantage of the background photo stretched in the back, the middle boundary looks like it is connected to the trees, creating a sense of depth.
Video URL | Supporting Webpage | Supporting Webpage