Arconic (NYSE: ARNC), a global technology, engineering and advanced manufacturing company, launched a global campaign about the next world-changing innovations in the sky, on the road and in our cities–and how Arconic might help bring those technologies to life. 
 
Centerpiece of the ad campaign is a live-action re-imagining of the world of The Jetsons, the animated television series from Hanna-Barbera that premiered in 1962, and which was set then-100 years in the future, in 2062. The spot, directed by noted filmmaker Justin Lin (Star Trek Beyond, The Fast and the Furious: Tokyo Drift, Fast Five, Fast and Furious 6), shows a future with flying cars, two-mile-high buildings, and new kinds of spacecraft, airplanes and cars, all enabled by Arconic technology.
 
“I was excited to help re-envision the future with The Jetsons, an iconic animated series that was a memorable part of my childhood,” said Lin, explaining his involvement in the video.  “Like this project, The Jetsons was about the technology that would shape our future. To honor that legacy, while grounding it in reality–that’s something I wanted to explore.”
 
In this newly-imagined world inspired by The Jetsons, also set in 2062, Arconic’s George [Jetson] is a senior engineer at Arconic; Jane is its chief innovation officer; Judy is studying architecture in Paris and Elroy attends school at Little Dipper Elementary.
 
The future depicted in the piece was informed by Arconic’s own engineers and technologists, and some of the world’s leading futurists: Thomas Frey, founder of DaVinci Institute and former engineer with IBM; TED speaker and author of “A History of the Future in 100 Objects” Adrian Hon; co-founder of Wired magazine Kevin Kelly; and Anne Lise Kjaer, founder of trend forecasting agency Kjaer Global.  

Lin directed via production house Bullitt for agency The&Partnership.

Credits

Client Arconic Agency The&Partnership Wil Boudreau, chief creative officer; Dan Beckett, head of art; Ceara Teixeira, Erica Simon, designers; Sam Mazur, writer; Andrew Wilcox, art director; Katherine Lee, planner; Kevin Wilson, executive producer; Shami LaCourt, producer. Production Bullitt Justin Lin, director; Luke Ricci, exec producer; Geoff McLean, producer; Kathrin Curle, production manager; Nigel Bluck, DP. VFX/Post Framestore, Los Angeles James Razzall, EP; Aron Hjartarson, creative director; Rachel Mariscal Creasey, sr. VFX producer; James Healy, art director; Morenike Dosu, line producer; Rich Shallcross, CG supervisor; JD Yepes, compositing supervisor. Dirk Valk, Todd Herman, CG layout; Evan Harbuck, Jessie Wang, CG animation; Sean Dollins, DG camera, tracking; Alessandro Pepe, Michelle Lee, CG FX; Arsen Arzumanyan, Carlos Fueyo, Yayu Chen, You Tengara, CG generalists; Danka Chiang, John Cook, CG ltg; Marco Amador, Hannah Josepher, Jessica Ramirez, Aamir Karim, CG modeling; Rob Garcia, Keridan Elliott, CG rigging; Scott Robertson, sr. concept design; Matt Tkocz, concept design; Vanessa Cheung, sr. matte painting; Marco Iozzi, Steven Messing, Franz Steiner, Matt Conway, matte painting; Anthony Gibbs, design lead; David Quiray, Mark Feldman designers; Euna Kho, compositing lead; Alex Unruh, Ian Northrop, Joshua Guillaume, Kingsley Rothwell, Timothy Gutierrez, compositors; Peter Timberlake, Victoria Herberts, paint/roto; Julian Ford, Flame. Jake Keller, Humberto Reynaga, VFX editors. Beau Leon, colorist. Andrew McLintock, color producer. (Toolbox: Maya, Arnold, Z-Brush, Houdini, Nuke, 3D Equalizer, Heiro, Mari, Flame) Editorial Final Cut Crispin Struthers, editor; Zoe Schack, assistant editor; Eric McCasline, Suzy Ramirez, exec producer; Yole Barrera, producer. 

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