This spot for the Mazda 3 out of JWT Dusseldorf debuted in Spain, with airing in Russia and other international markets slated to follow at press time. Directed by Carl Erik Rinsch of RSA Films, Los Angeles, “Red & White” tapped into the digital assets of digital production/visual effects studio Digital Domain, Venice, Calif. Those assets include an extensive library of landscapes, living creatures, automobiles and crowds of people to call upon and modify for projects.
Among the Digital Domain imagery used for this nearly entirely CG futuristic commercial were a highly modified digital city and a replica of a Mazda 3 model.
“The only shooting we did for ‘Red & White’ was of one man and one woman, who we replicated over and over throughout the spot,” explained Digital Domain’s Jay Barton, visual effects supervisor on the project. “Everything else was computer-generated–the car, the trucks, the plane, the buildings, the road, the paint–everything.”
The commercial opens on a brigade of women and men in skintight white suits painting every inch of their city white. They use hoses attached to fire trucks to spray gallons of goopy paint into the streets and onto the buildings. Everywhere you look it is white–but there is one fly in the ointment.
One fire red Mazda 3 hatchback is rolling down the avenues openly mocking the “white brigade.” The painters aim their hoses on the Mazda and large gobs of paint land like mortar shells all around it, but the car deftly escapes with some quick maneuvering. A prop plane swoops down and opens its cargo bay releasing a reservoir of white paint, but the car narrowly escapes into a tunnel. Things finally look grim for the Mazda 3 when it falls into a trap. Driving into an aqueduct, the car is heading straight for a roadblock of paint trucks. Behind it, a dam opens releasing a river of white paint that rushes toward the car. One of the painters flashes a confident smirk in that he Mazda is clearly cornered.
The car screeches to a halt and is engulfed by a rushing wave of paint. But the Mazda, now white, pulls a 180-degree turn and drives away leaving red everywhere in its wake. The painters’ suits turn red, the roadway is red and in the final shot, the all white Mazda heads back to the now red city.
“We used digital cityscapes, an exact CG car model, fluid simulation, animation, lighting simulation and more to help realize Carl’s vision of a quirky, uniform world,” said Digital Domain’s Ed Ulbrich, president of the studio’s commercial division and executive VP of production.
Barton noted, “We started with a CG New York City but rebuilt it for a more simplified, futuristic look. We took out many of the details and started thinking more about shapes. We adjusted the buildings and smoothed out the edges for an art deco look and more dramatic shadows and light. In the end, it looked fantastic and gave the spot a unique look and feel.
Influx of Talent At DAVID New York Includes The Creative Director Duo Of Erin Evon and Jason Burke
Global creative agency DAVID has made seven creative hires in its New York office. Coming aboard are the creative director duo of Erin Evon and Jason Burke; associate creative directors Kelsey Miller, Tori Mortenson and Maris DiTullio; sr. copywriter Adam Goffstein; and sr. art director Victoria Rocha.
All will report to Daniel Lobaton, North America, chief creative officer, and André Toledo, chief creative officer.
Creative directors Evon and Burke have teamed on campaigns for Goldfish, Snyder’s of Hanover, Tide, Shopify, Samsung and Uber Eats. They’ve been working together for seven years at such NY agencies as R/GA and Saatchi & Saatchi. While at the latter, Evon was one of the creative behind “It’s a Tide Ad,” the Procter & Gamble Super Bowl takeover that at the Cannes Fest scored a Film Grand Prix, Titanium Cannes Lion and Creative Effectiveness Gold Lion as well as a Grand Effie.
Associate creative directors Miller and Mortenson were most recently at Mekanism working for Jose Cuervo and Quaker Oats. DiTullio had been an associate creative director at Deutsch LA where she worked on Taco Bell. Prior to Deutsch LA, she worked at Crispin Porter+Bogusky on Domino’s, and RPA on Apartments.com.
Sr. copywriter Goffstein served previously at The Martin Agency and MullenLowe Boston, working for brands like Buffalo Wild Wings and Busch Light. Rocha contributed to award-winning campaigns like Michelob Ultra’s “Dreamcaster” and Spotify’s “Spreadbeats.”
The seven new team members join the existing NY contingent in their newly opened office space at the iconic Domino Sugar Factory in Williamsburg, Brooklyn.
“Talent is at the core of who DAVID is,” said Lobaton. “We are a first name agency so... Read More