As 2011 draws to a close, it’s time for reflection on many fronts, including assessing what work was among the year’s most worthwhile creatively and which in the process managed to strike a responsive chord with viewers.
Determining the year’s “best” is indeed a highly subjective proposition so SHOOT staffers looked to at least narrow the field by first culling through two bodies of work–our weekly Top Spots as well as our weekly pair of “The Best Work You May Never See” gallery entries throughout 2011.
We then selectively cut the candidates down to 15 Top Spot and 15 “Best Work” pieces, ultimately choosing a Top Five from each. We took some creative license by adding to the 15 finalists a piece of work or two that might have fallen through the cracks and not earned weekly “Top Spot” or “Best Work” status yet which we had covered extensively in other features or news stories during the course of 2011.
SHOOT also conducted an online poll of to get industry feedback regarding the year’s best Top Spots and “Best Work You May Never See” entries from the same respective 15 finalists. There were some distinct differences between the SHOOT editors’ selections and those who voted online–yet there was some common ground as well.
Far from an exact science, SHOOT took exacting measures to arrive at its picks. We talked to impartial advertising agency creatives during the year about our Top Spots and “Best Work” entries, taking their observations into account, viewing the work multiple times and then processed all that with our own tastes and sensibilities.
Surprisingly, themes emerged for both our Top Spot and “Best Work” Fab Five selections as the best of 2011. Our top two “Top Spots” had a decidedly Super orientation. And three of our Top Five Best Work picks for the year wound up being in a certain subject/product-related category.
So without further adieu, here are SHOOT’s selections for the Best Work of 2011, first for Top Spots, and then for our very best of “The Best Work You May Never See”:
TOP SPOTS OF THE YEAR While the Super Bowl is the marquee broadcast–and arguably online–advertising event of the year, the Big Game spots don’t usually rank among a select annual best list. But in 2011, two automotive commercials on Super Sunday resonated with viewers, one sparking warmth and laughter, the other a sense of renewed pride and optimism.
And indeed, warmth, laughter, pride and optimism were most welcomed at a time when concerns about the economy continue to abound and divisiveness seems to be the political calling card of the day.
Our picks for the number one and two “Top Spots” of 2011 are, respectively, the Super Bowl’s “Born Of Fire” for Chrysler out of Wieden+Kennedy, Portland, Ore., and “The Force” for Volkswagen from Deutsch LA.
Director/DP Samuel Bayer of Serial Pictures captured a succession of moments in “Born of Fire” that played as much as an anthem for Detroit and America as it did for Chrysler itself. In some respects the sought after economic comeback of the Motor City is intertwined with that of Chrysler as we see gritty urban images–some reflecting hard times–yet still feel an attitude of perseverance and survival in the face of adversity. Also captured are city landmarks, hustle and bustle, a sense of emergence, and a feeling of determination among people in Detroit. We also eventually see Eminem driving a Chrysler 200, with all the action playing to the strains of his music from 8 Mile.
Often overlooked is the spot’s showcasing of the beauty of the Motor City’s depression era architecture. The commercial takes us back generations while remaining rooted in today. There’s a link between the first depression and the economic downturn we’re in currently, conveying a confidence that we came out of the first depression stronger and we’ll do the same again.
“The Force” While the other aforementioned Super Bowl spot, VW Passat’s “The Force,” didn’t carry the weighty significance of “Born of Fire,” it deftly gave us a sweet simplicity as a boy in Darth Vader garb takes his imagination to new heights–with a little help from dad.
Directed and shot by Lance Acord of Park Pictures, “The Force” shows the youngster trying with all his might to use the force–that special power we all know from the Star Wars films–to manipulate inanimate objects, but to no avail. Finally he focuses on his father’s Passat in the driveway. Inside the house, dad activates the car’s remote start feature, Little Darth Vader’s surprised and startled reaction to the automobile starting is priceless.
Thumbs up Taking the number three slot is an irresistibly offbeat spot. Combine a fetching cast of cats with a fantastically over-the-top premise, slick compositing work and a delightfully dramatic voiceover by Tim Curry, and you’ve got “Cats With Thumbs,” an entertaining, charming and most memorable new commercial for Arla Foods’ Cravendale milk.
Created by W+KLondon, the spot was directed by Ulf Johansson of London’s Smith and Jones Films. London’s MPC handled the visual effects.
“Cats With Thumbs” opens on a man pouring milk into a bowl of cereal as his cat watches quite intently.
Banished to the backyard so the man can enjoy his breakfast without being stared at, the cat suddenly sprouts opposable thumbs, and one of the best moments of the spot finds the cat picking up a ball with ease thanks to his newfound dexterity and realizing he will now be able to do all sorts of things he couldn’t do before.
His feline friends in the neighborhood also grow thumbs, enabling them to thumb through books on military strategy (as well as file their claws and do needlepoint), and before long, the cats organize an army, and they’ve got only one thing on their minds–Cravendale milk!
Hot spots Playing with fire has proven creatively inspiring as flames figure prominently in our number four and five Top Spot selections, both directed by Noam Murro of Biscuit Filmworks: DirecTV’s “Hot House” and Jameson Irish Whiskey’s “Fire”
You can practically feel the heat blasting from the TV screen when you watch “Hot House.” We first see a man lying in bed and calmly watching his bedroom fill with flames. It turns out what he’s viewing is a dramatic film sequence on DirecTV that later has a fireman falling through the floor and rescuing a little boy. Indeed the original man’s viewing experience is so intense that it looks and feels as though the scenes are literally playing out within the walls of his home as he moves from room to room.
Created by Grey New York and directed by Murro, with visual effects by MPC LA and animation from Buck NY, the spectacularly cinematic “Hot House” is part of a series of spots that promote DirecTV’s multi-room viewing feature by depicting people watching films, pressing pause to freeze the action, then moving to other TV-equipped rooms to continue the flicks.
Next, TBWAChiatDay, New York, and Murro teamed with VFX houses Method Studios and Scanline on a period piece which tells the tall tale of how John Jameson saved his village–and just as, if not more importantly his distillery and the whiskey it housed–from a fast spreading fire.
Just when it appeared all would be lost with assorted homes ablaze, Jameson came up with the idea of one catastrophe helping to avoid another as he busted through the town’s dam, causing a flood which put out the fire.
The precious whiskey saved, the narrator quips, “Catastrophe averted.
Another POV on Top Five Finishing first in the online Top Spot poll was Jameson Irish Whiskey’s “Fire” followed by, in order, Hertz’s “The Gas and the Brake” (directed by Tucker Gates of Independent Media for DDB NY), General Motors/Martin Luther King, Jr. Monument’s “Table” (directed by Ben Quinn of The Sweet Shop for Spike DDB, NY), Nissan Frontier’s “Landing Gear” (directed by Baker Smith of harvest for TBWAChiatDay, LA), and VW’s “The Force.”
BEST WORK GALLERY Three of our five Best of “The Best Work You May Never See” entries for 2011 center on health-related issues and stories. While complex surgery, cancer and addiction to tobacco seem morbid topics, they are dealt with in an uplifting, at times (in the case of tobacco) humorous manner, underscoring the unconventional thinking and creative depth that went into each spot.
Here’s our rundown of the very best work that graced our “The Best Work You May Never See” gallery this year:
“Heather” When you see a piece of true reality, you realize how shallow, vacuous and contrived reality television is by comparison. In our “Best Work You May Never See” countdown, the number one entry for the year is a poignant, touching slice of reality.
Nine-year-old Heather McNamara speaks directly to the camera in a matter-of-fact manner, relating how she was turned away from hospitals in different parts of the country.
A message appears on screen which informs us that Heather had a baseball-sized cancerous tumor lodged among her vital organs.”
We return to Heather on camera who says that she and her family finally found a place that didn’t send her elsewhere: New York-Presbyterian. Heather stumbles a bit in her pronunciation of “Presbyterian.” She tell us of Dr. Kato who agreed to operate.
A supered message reads, “In a 23-hour surgery, Dr. Tomoaki Kato temporarily removed six major organs in order to remove the tumor.”
The camera comes back to Heather who tells us how happy she is to be better and cancer free.
The spot ends with the New York-Presbyterian campaign mantra, “Amazing Things Are Happening Here.”
The “Amazing Stories” campaign was created by New York agency Munn Rabôt. Director was agency creative director Peter Rabôt.
On track Featuring multiple disciplines, including modelmaking and 3D animation artistry, this spot titled “RFF”–directed by Thierry Poiraud via Paranoid Paris (he is also repped by Independent Films, London) for Réseau Ferré de France, the company responsible for managing the French national railway network–took the number two slot in our year’s “Best Work” tally.
Although the piece was shot traditionally using ARRI Alexa cameras, Poiraud employed a variety of techniques including modelmaking and 3D animation to create a world that marries real life and the magic of a miniature railway. This :45 takes us on a whimsical, exciting journey across France that captures the full scale of RFF’s day-to-day operations–with the occasional intervention of a giant human hand that modernizes the railway infrastructure as it continues going about its daily business.
A voiceover relates the slogan, “Building tomorrow’s network while running today’s.”
“Unsweetened Truth” Baker Smith of harvest directed “Unsweetened Truth,” an American Legacy PSA for Arnold Boston. This cinema spot, finishing third in our rundown, takes us to a parade in order to illustrate the impact of smoking. The focus is on six people on a parade float decorated with candy and fruit. The people are all adorned in hospital gowns as the float makes its way down the street, passing by spectators. It turns out these six people are in real life coping with tobacco-related disease–one for instance wears an oxygen mask, another has a hole in her throat.
They break out into song heralding the different flavors tobacco comes in, with a chorus that goes,”Oh why do they make tobacco taste sweet?”
An end tag invites us to meet the singers at thetruth.com.
Looking good on paper A job applicant prepares and then finds himself in his own curriculum vitae (CV), reflecting his future and myriad possibilities before he goes on to conclude what looks like a successful job interview.
Directed by the collective weareflink, who are on the roster of U.K. house Independent, the live action/animation short for the website of car maker Skoda features pages of various CVs forming a paper world in which we see the applicant’s exploits and envisioned accomplishments at Skoda come to life on a global scale.
Agency is Leagas Delaney Praha.
“Hair” Rafael Fernandez of Green Dot Films, Santa Monica, Calif., directed this :60 titled “Hair” for Oklahoma University Medicine Cancer Center out of ad agency BVK, Milwaukee and Chicago.
In this Best of “The Best Work” spot rounding out our top five, a woman looks in the mirror. Staring back is someone she doesn’t quite recognize, someone who doesn’t seem to be her but it is–she is bald, in the throes of cancer treatment. We see her reflection in the mirror as she sheds a tear. Perched on a nearby dresser are numerous medication bottles and a framed photo of the woman, which shows her as she once was, smiling with a full head of hair.
We next see her walking downstairs from the bedroom but there’s an outline of slight hair growth.
Next, she is preparing a cup of tea but more follicles have grown in, signaling that she is much further along in her treatment.
A quick shower reveals that her hair, while short, has grown in considerably more. She wraps a towel around the top of her head.
Then back downstairs in the kitchen, she is making peanut butter sandwiches. A slight playful half smile crosses her lips. Her hair has grown even more.
We next see her with her hair having filled in nicely. A reflection of her face is clearly visible in a foyer mirror; suddenly appearing in that mirror behind her is her young daughter who is ready to head out for school. Mother and daughter then walk out the front door to a beautiful morning.
Another perspective In an online poll, SHOOT received industry feedback regarding the top “Best Work You May Never See” spot of the year from a field of 15 contenders. The number one entry was Oklahoma University Medicine Cancer Center’s “Hair.” Finishing in a tie for second were: Toms Shoes’ “Get Out and Play” (directed by Max Joseph of Urgent Content); and Toronto Crime Stoppers’ “Anonymous” (directed by Curtis Wehrfritz of Untitled Films, Toronto, for DDB Canada). And rounding out the Top Five in a tie for fourth were: Affinity Plus’ “Underwear and Socks” (directed by Matt Pittroff of Twist for Minnesota’s Risdall Marketing Group) and California Lottery’s “Rabbit Foot Factory” (directed by the Superfad collective of the studio Superfad for David&Goliath, Los Angeles).
OFF THE CHARTS: The year’s five best ad tracks Our fall quarterly chart and our first annual Best of the “Top Ten Tracks” Charts for all of 2011 share a common bond: the number one entry for both is Sony Bravia’s “City,” with music and sound design by Q Department, New York, for Tokyo ad agency Frontage.
Directed by Daniel Askill of @radical.media, the spot plays like an urban ballet, with the performance artistry of ballerinas gracing an otherwise gritty, bustling city street. At one point, a ballerina is seen in slo-mo jumping over a moving taxi cab. (For further backstory on this commercial, see this week’s quarterly Top Ten Tracks feature story.)
Finishing second in SHOOT’s rundown of the year’s best Top Ten Tracks Chart entries is the music video “Planet Better” for the MTV EXIT (End Exploitation and Trafficking) initiative. “Planet Better” topped our March 2011 quarterly Chart,” featuring sound design by Brooklyn-based Brian Emrich and an original song composed by Lewis Pesacov, a producer at Black Iris Music, and sung by Best Coast’s Bethany Cosentino. The score complements a hauntingly animated piece directed by Edouard Salier of Paranoid US for Y&R, N.Y.
A little over two minutes, “Planet Better” highlights the dangers and impact of trafficking for sexual exploitation. The animated clip tells the story of a girl who is tricked by a man to follow her hopes and dreams across borders in search of a better life. Her at first exciting journey to “another planet” ends in tragedy.
The video concludes with a grim, sobering statistic. “Every year, 640,000 women and children are tricked into slave labor and prostitution with the promise of a better life.” An endtag directs viewers to mtvexit.org to help stop human trafficking.
“Planet Better” has appeared on MTV properties on-air and online around the world. The music track is also available for download on iTunes via Black Iris’ record label, White Iris. Proceeds for the iTunes sales have been directed to anti-trafficking organizations working to rescue and rehabilitate victims of human trafficking.
Full Nelson Taking third place for the best tracks of ’11 is the stop-motion animation short Back To The Start for the Chipotle Cultivate Foundation (the number two entry in the current quarterly fall Chart). Directed by Johnny Kelly of Nexus, London, for Creative Artists Agency (CAA) and Chipotle, Los Angeles, the short is propelled by Willie Nelson’s cover of Coldplay’s “The Scientist,” with David Leinheardt of Duotone Audio Group handling music supervision. Barnaby Templer and J.M. Finch of Fonic, London, served as sound designer and audio post mixer, respectively.
Back To The Start centers on a misguided farmer who slowly turns his family farm into an industrial animal factory before seeing the error of his ways and opting for a more sustainable future. The beautifully executed animation is all contained in one long panning “shot” and has no voiceover, leaving the music to tell the story.
And for that, CAA turned to Duotone which came up with a tailored edit of Coldplay’s “The Scientist” that not only matched the mood of the film but also scored to picture naturally and powerfully. Sync licensing was handled by Duotone EP Leinheardt.
Nelson was an ideal choice to perform the song. He co-founded Farm Aid, which assists and increases awareness of family farms. His full-length cover is available for download from iTunes, with proceeds going to the Chipotle Cultivate Foundation, which benefits the small and sustainable farms movement.
“Hot” and cool tracks Fourth on our year’s best countdown is DirecTV’s “Hot House” which is driven by music composed by Robert Miller of stimmüng, Santa Monica, and sound design from Kim B. Christensen of Noises Digital, Inc., San Francisco and L.A. Noam Murro of Biscuit Filmworks directed for Grey NY. “Hot House” was the number one entry in our June ’11 quarterly Chart.
And rounding out the year’s Top Five is Sherwin-Williams’ “River,” directed by Buck of Buck New York for Durham, N.C.-based agency McKinney. The inspired cool, breezy jazz score was composed and arranged by Beacon Street Studios in Venice, Calif. “River” originally placed second in our June ’11 Top Ten Tracks Chart.
Different take For a different perspective, SHOOT’s online poll gained industry feedback as to the year’s Top Track from a field of 15 finalists. Finishing first was Nokia’s “Don’t Fence Me In” (Cole Porter’s “Don’t Fence Me In”; Yessian and Jafbox Sound were music and sound design house, respectively, with Tom Jucarone of Sound Lounge the audio post mixer, for Wieden+Kennedy, NY). Rounding out the top five in the voting for Best Track of 2011 were, in order, Jack Daniel’s “King Bee” (“I’m A King Bee” performed by The Stone Foxes, with sound design and audio post from The Lodge, NY, for Arnold, Boston); Sony Bravia’s “City”; MTV EXIT’s “Planet Better”; and Adidas adiZero Rose2’s “The Bull” (Song titled “The Bull” by araabMuzik with music arrangement by Elias Arts, sound design from 740 Sound Design and audio mix by Jeff Payne of Eleven for agency 180LA).
SHOOT‘s Final Chart Meanwhile, check out SHOOT’s high five Chart (see prior page), with the quintet of entries deemed as having the best scores of the year.
OFF THE CHARTS: The Year’s Top VFX/Animation In sifting through SHOOT’s quarterly Visual Effects & Animation Charts, there were close calls as to which work would make the final cut as part of the Best Five of 2011. Ultimately, though, we went with the number one entries on each respective quarter’s Chart–with DirecTV’s “Hot House” (SHOOT, 8/19) at number one, followed by Twinings’ “Gets You Back To You” (SHOOT, 11/18) at number two, Huggies’ “Soiree” at number three (SHOOT, 2/18), and Cravendale Milk’s “Cats With Thumbs” at number four (SHOOT, 4/15).
Rounding out the year’s Fab Five is Nokia’s “Gulp,” the number three entry from our quarterly Chart just last month.
“Hot House,” with visual effects by MPC LA and animation from Buck New York, and “Cats With Thumbs,” for which MPC London served as VFX house, are covered in our Best “Top Spots” of 2011 roundup.
Safe passage Twinings “Gets You Back To You” was directed by the Psyop collective via production house Psyop/Smuggler for AMV BBDO, London. The animation spot puts us in a small boat on a stormy sea. A woman navigates what at first is a tumultuous ride, losing an oar and left with but one to paddle her way to safety.
She hangs in there but seems to be fighting a losing battle. However, a flock of gulls enters the picture and lifts the boat above the churning waves, eventually landing the craft on more subdued, peaceful waters.
As the boat approaches the shoreline, someone is waiting for her. The woman steps out of the boat; we see her foot settle in the sand underwater amidst coastal life.
The person who greets her looks familiar. It turns out to be her “other self.” The two converge as one as a super reads, “Gets you back to you,” accompanied by the Twinings Tea logo.
As the nuanced piece unfolds, so too does the realization set in that we are witnessing the woman’s emotional journey from the hectic machinations of everyday life–as mother, wife, worker, daughter, sister and friend–to eventually returning to her inner self, as if taking a moment to enjoy who she is, recharge, and put life into context.
Baby steps Meanwhile Huggies’ “Soiree” takes diaper ads to a new level of visual creativity. Directed by Fredrik Bond of MJZ and featuring the VFX work of N.Y.’s MassMarket, the :30 from JWT New York centers on a baby who wreaks havoc at an upscale loft party.
The spot was designed to promote Huggies Little Movers diapers, which are shaped to fit in a way that allows babies to move faster and more freely. That insight led the creative team at JWT to wonder, could Huggies have created a diaper that has babies moving so fast they can’t be caught?
From that question came the idea of producing a commercial that finds a baby in overdrive. But rather than have the baby whizzing around like Road Runner, which would seem like an obvious route to take, the creative team conjured up a sense of speed through a series of frozen vignettes.
While the baby is a whirlwind of destruction, whipping around the party and knocking over everything from a plate of spaghetti to an aquarium with dad in hot pursuit, the action is depicted in a series of intricate still moments.
Big “Gulp” It’s amazing what you can shoot with a Nokia N8 touch screen phone and a little ingenuity.
Wieden + Kennedy, London, teamed up with directing duo Sumo Science of Aardman Animations, Bristol, England, to prove that point last year, producing “Dot,” a stop-motion film that finds an itsy-bitsy girl–standing a mere 9 millimeters tall–on the run as her tiny world crumbles and threatens to consume her.
Shot entirely on a Nokia N8 outfitted with a high-powered microscopic device called a CellScope, the diminutive work earned a Guinness World Record for smallest stop-motion animation character in a film.
Having mastered the world of micro filmmaking, W+K and Sumo Science went big when it came time for their next collaboration, this year’s “Gulp.” Shot outdoors on an 11,000-square-ft. section of beach, the film earned its makers another Guinness World Record, this time for the world’s largest stop-motion animation set.
“Gulp,” features an average-sized man in the role of a weathered fisherman who goes out to sea in search of his daily catch only to be swallowed, along with his boat, by an enormous fish. Luckily, he is spit back out courtesy of a well-timed explosion.
Like its predecessor, “Gulp” promotes the Nokia N8’s still camera capabilities to 18-to-25-year-olds who are known to use their phones for photography purposes as well as entertainment, gaming and social networking. “The idea of the film was to show that the technology is there to be used in a number of ways, and this is a great example of how to use the N8’s 12 megapixel camera in unique way,” W+K creative Tom Seymour said.
Top Five: VFX/Animation Here’s SHOOT’s high five Chart, with the quintet of entries deemed as the best VFX and/or animation ad fare of 2011:
2011’s Top Five Music Tracks
Title | Music/Sound | Audio Post | Agency | Production | |
1 | Sony Bravia’s (view spot below) | Q Department, New York | Sound Lounge, | @radical.media, | |
2 | MTV EXIT (view spot below) | Brian Emrich, sound designer. | Brian Emrich, mixer. | Paranoid U.S. | |
3 | Chipotle Cultivate (view spot below) | Willie Nelson, performer covering Coldplay’s "The Scientist" | Fonic | CAA/Chipotle, | Nexus, London |
4 | DirecTV’s (view spot below) | stimmüng, Santa Monica, Calif. | 740 Sound Design, | Grey New York | Biscuit Filmworks, |
5 | Sherwin- (view spot below) | Beacon Street Studios, Venice, Calif. | Color, New York | Buck, New York |
2011’s Top Five: VFX/Animation
Title | Visual Effects/Animation | Agency | Production | |
1 | DirecTV’s “Hot House” (see video below) | MPC LA (The Moving Picture Company)Franck Lambertz, VFX supervisor/Flame lead; Michael Wynd, VFX supervisor/lead 3D; Brinton Jaecks, Brendan Smith, Elliott Brennan, Katerina Arroyo, Nuke; Ben Persons, matte painter; Ben Davidson, Smoke; John Cherniack, Ross Denner, Jessie Amadio, 3D. | Grey New York | Biscuit Filmworks, Los Angeles Noam Murro, director |
2 | Twinings’ “Gets You Back To You” (see video below) | Psyop/Smuggler, bicoastal, London Kylie Matulick, CD; Neysa Horsburgh, EP; Kyle Cassidy, 3D lead; Dan Vislocky, anim. lead. Danny Koenig, Julie Lenoble, compositing leads; Cris Kong, compositor; Paul Kim, lead design; Rie Ito, Ibtisam Ahmed, modeling; Blake Guest, pre-vis anim; Minor Gaytan, Chris Meek, Jacob Frey, Sashdy Arvelo, Yvain Gnabro, Todd Akita, animators; Katie Yoon, David Chontos, David Barosin, Barry Kreigshauer, Hao Cui, Roman Kaelin, Eric Rosenthal, Andreas Berner, 3D. | AMV BBDO, London | Psyop/SmugglerPsyop, director |
3 | Huggies’ “Soiree” (see video below) | MassMarket, New York. Justin Lane, Rich Rama, EPs; Nancy Nina Hwang, Marcus Lansdell, prods; Damon Ciarelli, CG supervisor; Andy Jones, CG lead; Todd Akita, Jonah Friedman, Soo Hee Han, Xuan Siefert, CG artists; Tom Cushwa, CG modeler; Ian Brauner, CG pre-vis; Joerg Liebold, tracking lead; David Parker, lead Flame; Jamie Scott, Joanne Unger, Jeen Lee, Adam Flynn, Flame artists. Animation: Buck, NY. Kate Treacy, Anne Skopas, EPs; Kevin Hall, prod; Orion Tait, CD. | JWT New York | MJZ, bicoastal/international Fredrik Bond, director |
4 | Cravendale Milk’s “Cats With Thumbs” (see video below) | MPC (The Moving Picture Company), London.Kamen Markov, lead Flame/VFX supervisor; Richard McKeand, assist Flame; Ryan Hadfield, Heather Goodenough, Neil Griffiths, assist Nuke; Charlotte Tyson, matte painter; Jean-Clement Soret, telecine; Josh King, post producer. | Smith and Jones Films, | |
5 | Nokia’s “Gulp” (see video below) | Aardman Animations, Bristol, U.K. Sumo Science, dirs; Toby Howell, DP; Stephanie Owen, prod.; Mark Hewis, production mgr; Jamie Wardley, sand art director; Andy Moss, Tom Bolland, sand team; Lisa Butler, 1st a.d.; William Todd, pixilation artist; Inez W, Nick Herbert, Merlin Crossingham, animators; Helen Javes, props maker; Sion Lane, Paul Galloway, props; Jim Lewis, senior post artist and grade; Spencer Cross, Paule Quinton, Dan Blore, compositors. | Wieden+Kennedy, London | Aardman Animations Sumo Science (Ed Patterson, Will Studd), directors |
