Featuring two kids–a boy who loves the Light Side and a girl aligning herself with the Dark Side–this spot promoting PlayStation and the Star Wars Battlefront II game speaks to a friendship that blossoms through rivalry.
We watch the boy and girl grow up, constantly trying to one-up each other. It begins innocently enough with the boy destroying a TIE fighter piñata but the girl strikes back by building a jaw-dropping Death Star treehouse. As they get older, their pranks ramp up, reaching the classroom, the football field, and even the high school parking lot.
Eventually, time passes and the two are all grown up, but their rivalry is still alive and strong. While sitting in his apartment, a full sized AT-AT, piloted by the girl, marches towards him. She gives him a sly wave and unleashes an epic barrage of laser fire, upping the ante. In an incredible moment of chaos and excitement, he flees and bursts into the midst of a battle on the snow-covered Starkiller Base. As TIE fighters crash out of the sky and blaster fire rains down from above, the two stare each other down on the battlefield before charging at one another.
It’s clear, there’s only one place this rivalry will be settled: in Star Wars Battlefront II on PS4.
Wayne McClammy of Hungry Man directed “Rivalry” for BBH New York, with visual effects by Industrial Light & Magic (ILM) and The Mill.
Credits
Client PlayStation, PS4, Star Wars Battlefront II Agency BBH New York Gerard Caputo, chief creative officer; Alex Booker, Philip Sicklinger, creative directors; Aimee Perrin, art director; Stu Rubin, copywriter; Kate Morrison, head of production; Adam Perloff, executive producer; Christopher Galvin, associate producer; Kendra Salvatore, head of strategy; Alex Beerden, Dylan Fauss, strategists; Zack Green, communications strategist. Production Hungry Man Wayne McClammy, director; Dion Beebe, DP; Mino Jarjoura, exec producer; Dave Bernstein, line producer. Editorial Work Editorial Jono Griffith, editor; Ellie McNaughtan, Trevor Myers, assistant editors; Jamie Lynn Perritt, producer; Jane Dilworth, exec producer. VFX Industrial Light & Magic Hayden Landis, associate VFX supervisor; John Levin, Talmage Watson, layout supervisors; Paul Kavanaugh, animation supervisor; Leandro Estebecorena, lighting supervising technical director; Jason Porter, Mike Conte, compositing supervisors; Megan Matousek, VFX producer; Emily Nelson, associate VFX production manager. VFX (vignettes) The Mill Nathan Kane, VFX creative director, shoot supervisor; Siro Valente, lead compositor; Marco Baratto, Kyle Zemborain, compositing artists; Christian Neilsson, CG lead; Gregory Gangemi, shoot supervisor; Chris Kiser, exec producer; Nirad “Bugs” Russell, sr. producer; Perry Tate, line producer; Zach Fortin, production coordinator; Fergus McCall, colorist. Audio Skywalker Sound Bonnie Wild, re-recording/mixer. Music Star Wars music composed by John Williams; Star Wars music master, Lucasfilm/Disney; Star Wars Music Publishing Disney; Warner/Chappell. Original Music Woodwork Music Phil Kay, composer.
FCB Health New York, an IPG Health company, and SAFE Project have joined forces to create “The Snowball,” a short film that spotlights winter as a common catalyst for dangerous increases in alcohol consumption. In collaboration with creative studio LOBO, “The Snowball” combines a compelling visual metaphor with cutting-edge animation and a haunting soundtrack from Billie Holiday.
As millions embrace “Dry January,” the onset of colder, shorter winter days still leads to an uptick in alcohol misuse, which can lead to liver cirrhosis and other medical maladies and dangerous consequences for one’s life. Speaking to casual drinkers, “The Snowball” visually illustrates how anyone is at risk of becoming addicted to alcohol during this time of year when external climate variables can lead to excess consumption, even if the drinker does not immediately realize it.
Making good on the metaphor, the film follows one man as a quick liquor run gradually devolves into a full-blown addiction as a snowball gradually grows beside him, engulfing his whole life and eventually causing his demise. Set to the tune of Billie Holiday’s “Everything I Have Is Yours,” the film’s pathos is drawn from the sonic integrity of Holiday’s original recording maintained in the sound design as well as the singer’s tragic battle with substance abuse.
This entirely animated film was created using a hands-on, collaborative process rooted in traditional animation techniques, with every aspect of the artwork creation, design, and craftsmanship crafted entirely by human hands. AI-driven tools and processes were brought in during the animation rendering stage, helping the film achieve a distinct visual style that would have been difficult to achieve through... Read More
