Terminix 2011 Campaign / Press Release Flying Monster / Beams

Transcription

1 Terminix 2011 Campaign / Press Release Flying Monster / Beams Directed by Dvein Agency: Publicis Dallas / Prod. Co.: Blacklist

2 Terminix is the USA largest pest-control provider which assists homeowners in proactively protecting themselves from the financial and health issues associated with pest problems. We already developed together with Publicis Dallas the 2010 campaign, and in this occasion the idea was bringing to cinematic life the havoc pests that can wreak on homeowners, comparing pests to monsters. Publicis concept was a very clever visual metaphor to communicate that message: a monster attack. You d think something that destroyed your home or made you sick would be this huge terrifying creature, but in reality it is a tiny cockroach or termite. Initially, the storyline was about monsters flying over a town, turning into termites. But then we thought Why not showing monsters causing direct damage to the houses?. Publicis fully suppor ted and developed fur ther this idea. Flying Monster and Beams are the result of all this joint work, but they are only the first episodes. Keep an eye on your pantry and kitchen...

3 Flying Monster

4 Flying Monster Character design The monster design was our first challenge: developing a 3D creature away from the typical blockbuster, high-budget movies; we needed to create a characteristic identity that distinguished the commercial, that made it atypical. We decided to work with real land animal features, great scope animals, that move massively in stampede, like buffalos and elephants, but which also can fly. We were searching for something unexpected and at the same time it had to have the insects features, but magnified. The idea was building a collage of attitudes, forms and textures that were also the projection of a termite s modus operandi. At the same time, our ideas had to go in the same direction as the client s, but without losing the organic forms, Dvein s signature.

5 Flying Monster Character design

6 Flying Monster Character design

7 Flying Monster Character design

8 Flying Monster Character design

9 Flying Monster Character design

10 Flying Monster Character design

11 Flying Monster Animation Once every monster was finished, we got into the animation process. Our main aim was to translate truthfully every detail of the monster into movement, transmitting the fast and action-packed rhythm of the commercial. We had only 10 seconds to show the monsters capacity to to fly, but also to destruct. The destruction feeling was very impor tant, not only in the way that the monsters destroyed the houses but in the way the houses rupture. At the same time, we didn t want to lose the modeling and texturing details, so we chose to have a slow-motion sequence, that allows appreciating those but at the same time adds drama to the story. Dynamics simulation tools were used as well as manual animation were required to achieve this purpose, working together with the guys of Vando Studio. We also payed attention to the rhythm changes, this helps to the animation also, and so in creating sensations. We were also very accurate in choosing the framing. We wanted to amplify the sensation of weight and clearly appreciate the anatomy of the monsters so we had to locate the cameras in strategic points to give the whole scene a deeper realism.

12 Flying Monster Animation

13 Flying Monster Animation

14 Flying Monster Animation

15 Beams

16 Beams Character Design In the previous commercial, Flying Monster, we worked with devastation, the general damage that termite pests can cause. For this one, we wanted to focus on the termite s most specific and basic feature: they eat. They eat a lot, specially wood. For this reason, we worked specifically in the mouth, as an exaggeration, an unusual jaw, nearly as a mouth with legs, but which also had saw characteristics. We also wanted to show a monster that is out of control, hyper-destructive... but which in fact are tiny termites that can be anywhere, in remote places too, like a cellar, or inside a beam, apparently stable. The concept remained: only a creature like that could cause such a damage.

17 Beams Character Design

18 Beams Character Design

19 Beams Character Design

20 Beams Character Design

21 Beams Character Design

22 Beams Character Design

23 Beams Character Design

24 Beams Character Design

25 Beams Character Design

26 Beams Animation

27 Beams Animation

28 Beams Animation

29 Credits

30 Client: Terminix Agency: Publicis Dallas EVP, ECD: Shon Rathbone SVP, Group Creative Director: Julia Melle VP, Creative Director - Ar t: Pete Voehringer VP, Creative Director - Copy: Steve Grimes SVP Director of Integrated production: Jaime Roderer Production Co.: Blacklist Executive Producer: Adina Sales Producer: Michael Neithardt Direction & Art Direction: Dvein Character design & development: Dvein Producer: Esther de Udaeta Post-production & VFX: Vando Producer: Ignasi Céspedes Character modeling: Álvaro Gasco, Dvein Modeling Ar tists: Omar Sarmiento del Barrio, Javier Jaen, Marc Calvelo, Jonatan Catalan Set modeling & texturing Ar tists: Javier León, Jaime Fernandez Muro, Kepa Casado, Jonatan Catalan, Marc Calvelo, Álvaro Gasco, Dvein Character TD: David Corral Character Animator: Hugo García Lighting & Rendering Ar tists: Javier León, Kepa Casado, Dvein Special Effects: Kepa Casado, Lluís Roig Comas, Rober to García FX Ar tist: Marco Rossi Compositing Lead: Rober to García Compositing: Rodrigo Fiallega, Dvein Music & Sound Design: Hecq Sound Mix Company: Infinia, Marc Gonell and Hecq Special thanks to Furia Digital