A mesh of animated illustrations and sketches with live-action still images creates a sort of leap-off-the-drawing-board feel to this Toyota Prius spot, providing viewers with the creative spirit behind the genesis of the hybrid vehicle.
Conceived by Mexico City agency Nazca Saatchi & Saatchi, “Impossible” is largely black and white, with elements recalling architectural blueprints and the photography of Eadweard Muybridge. The theme of evolution is prevalent throughout the commercial, beginning with the animation of an early creation myth of a tortoise that carries the earth and sky on its back. This scene dissolves into a live rendering of Leonardo Da Vinci’s Vitruvian Man–the classic drawing of a man with arms and legs akimbo in a circle, which illustrates the proportion of the human form. The man leaps off his circle and morphs into a bird taking flight, recalling Da Vinci’s bird-like flying machines. Blueprints of early automobiles transform into the Prius, which emits colorful flowers instead of smog.
London-based John Robertson (a.k.a. Flea Circus–part of the talent roster at Curious Pictures, New York) directed “Impossible.” For the spot, he melded live-action still images (captured by Mexico City house Cuatro y Medio and directed by Norman Christianson), with drawings and scans composited in After Effects.
“After the ‘live’ sequences were assembled from stills shot in Mexico, we used individual frame hard copy printouts registered to animation pegs to create the drawings,” explained Robertson. “These were then assembled as animated clips and comped back over the live sequences.”
The car in the final section was built and animated in 3D Studio Max. “The vehicle transition sequence was animated by using layers of hand animated morphs and transitions comped together,” added Robertson.
Robertson’s support team at animation house Curious included head of production Meridith Brown, executive producer Mary Knox and producer Mike Turoff. At Cuatro y Medio, the executive producer/producer was Ramiro Cruz.
Luis Ribo was the creative director for Nazca Saatchi & Saatchi. Agency producer was Euridice Casasola.
Breakout Films and Major Takeaways From This Year’s Sundance Fest
Film wasn't the only thing on people's minds at this year's Sundance Film Festival, which comes to a close Sunday in Park City, Utah ( and online ).
The effects of the wildfires in Southern California loomed large, as did the bittersweet knowledge that this year will be the second to last Sundance based in Park City. Some films offered an escape from reality; others were a pointed reminder of the domestic and international political landscape, from transgender rights to the war in Ukraine.
Here are some of the key takeaways from the 41st edition of the festival.
The effects of the Southern California fires were deeply felt
The wildfires were still burning in parts of Los Angeles when Sundance began last week and reminders of its devastation were everywhere, even on screen. Max Walker-Silverman's "Rebuilding," starring Josh O'Connor as a cowboy who loses his ranch in a wildfire and forms a community with fellow survivors in a FEMA camp, hit close to home for many.
Filmmakers Meena Menon and Paul Gleason lost their home in Altadena where they filmed some of their zombie apocalypse movie "Didn't Die." Sundance artist labs head Michelle Satter lost her Palisades home as well. Satter had an audience of Sundance Institute donors in tears early in the festival while accepting an honor at a fundraising gala.
"It's a deeply devastating time for us and so many others, a moment that calls for all of us coming together to support our bigger community," Satter said. "As a friend recently noted, and I have to listen to this, 'Take a deep breath ... We lost our village, but at the end of the day we are the village.'"
The festival's move to another city dominated conversations
It was a topic... Read More