This year, Uber Eats’ star-studded Super Bowl spot from agency Special U.S. highlights that you can get almost anything delivered with Uber Eats. But in order for folks to remember that, they have to forget something else…
In the ad, for example, Jennifer Aniston forgets she’s Friends with David Schwimmer, the Beckhams fumble to remember the Spice Girls, Jelly Roll doesn’t understand why the ink on his face won’t rub off, and USHER wishes he could host a Super Bowl halftime show.
Jake Szymanski directed the Big Game spot via production house Gifted Youth.
Credits
Client Uber Eats Agency Special U.S. Matthew Woodhams Roberts, David Horton, partners/executive creative directors; Kelsey Hodgkin, partner/CEO; Vic Palumbo, partner/chief production officer; Cade Heyde, global partner; Alice Blastorah, Josh Hacohen, Jon Marshall, Eron Broughton, creative directors; Karan Dang, social executive creative director; Dan Greener, Natalie Seitz, associate creative directors; Jen Dennis, executive producer; Nat Brickler, sr. producer; Kelsey Karson, head of strategy; Hanet Shih, group strategy director; Jen Rose, sr. strategist. Special Australia Julian Schreiber, Tom Martin, partners/chief creative officers. Production Company Gifted Youth Jake Szymanski, director; Josh Morse, exec producer; Cat Craven-Griffiths, head of production; Bernard Rahill, producer; Michelle Del Mese, Mike Garcia, production supervisors; Gabby Del Mese, assistant production supervisor; Larkin Seiple, DP. Editorial Exile Kirk Baxter, Matt Murphy, Zaldy Lopez, editors; Jonathan Rogers, TJ Lasure, Melanie Newton, Chris Messier, assistant editors; CL Kumpata, managing director; Jennifer Locke, Michael Miller, exec producers; Brian Schimpf, Adam Parker, sr. producers; Dylan Majerus, producer. VFX/Post Pariah Mark Tobin, managing director/EP; Matt Sousa, VFX supervisor; Kim Stevenson, Sam Kolber, Janice Lee, Flame artists; Amanda Elliott, online editor; Ryan Ross, Nuke artist; Reid Southen, matte painter; Elizabeth Hammer, tracking; Andrew Rosenberger, producer; Lily Hernandez, production coordinator; Michael Steinmann, exec producer. Color Grade Company 3 Tom Poole, Matt Osborne, sr. colorists; Shannen Troup, Jenny Roberts, producers. Sound Eleven Sound Jordan Meltzer, sound designer/mixer; Andrew Smith, sr. producer. Music Mazie, “Dumb Dumb” Music JSM Music Joel Simon, chief creative officer/CEO; Jeff Fiorello, VP/exec producer; Norm Felker, Andrew Manning, sr. producers; Sharon Cha, producer.
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
