The Work 2020 Contenders: Collider
With Cannes Lions and LIA postponed until 2021, Campaign Brief is still out to recognise and showcase the great work that is being produced in the region. So we are introducing The Work 2020 Contenders.
Audi: Electric Wave
Culprit Creative
Daniel Askill, Collider
Electric Wave is a conceptual film directed by Daniel Askill for Audi showcasing their recent partnership with Kelly Slater Wave Company (KSWC) as their Official Automotive sponsor. The film was shot under a full moon at Kelly Slater’s Surf Ranch in California, where engineers created the longest rideable open-barrel human-made wave in the world; powered by electricity. Featuring female surfing legends Coco Ho, Leah Dawson, and Stephanie Gilmore, this collaboration creates a synergistic link between the future of surfing, the automotive industry, and the frontiers of electric technology. Askill created iconic imagery for the Audi brand.
Powerade: Work it out
McCann
Rob Stanton-Cook, Collider
Rob Stanton-Cook pushes the Powerade brand forward with a unique visual approach using the Snorricam for the first time in Australia. It immerses the viewer in to the world of our hero fuelling our desire to stay energised and ‘Work it out’.
Sydney Opera House: Lighting over the Sails
Andrew Thomas Huang, Collider + Lunar
Andrew Thomas Huang created an Austral Flora Ballet for the projection on the Sydney Opera House Sails at the 2019 VIVID festival. It was a hypnotic fusion of contemporary dance and motion-capture technology that brings Australian botanic wonders to life as never seen before. Huang crafted an incredible spectacle from such beloved floral gems as the New South Wales Waratah, the Kangaroo Paw and the Red Beard Orchid. These unique native plant species inspired the animated shapes, colour palette and textures to produce a magnificent otherworldly opus.
I Touch Myself Project
Wunderman Thompson
Andrew van der Westhuyzen, Collider
With one in eight women being diagnosed with breast cancer, Collider was tasked with bringing awareness to the importance of early detection and the simple checks women can perform on themselves. The ‘I Touch Myself’ campaign is inspired by the Divinyls’ hit song of the same name, and the tragic passing of front woman, Chrissy Amphlett, who died of the disease.
To ensure this message could be shared widely, we developed a digital body to demonstrate the breast-checking technique while avoiding any social media nudity and censorship regulations. Partnering with the voice of Siri, Karen Jacobsen, we were able to provide instruction for how to look for early signs of breast cancer.
Director Andrew van der Westhuyzen used 3d scanning technology to create a CGI human form, experimenting with sound inputs and responsive animations to create dynamic transitions and optimise the legibility of the breast check positions.
CommBank: Commbank Secure
M&C Saatchi
Daniel Askill, Collider
CommBank’s ‘Secure’ campaign champions CommBank’s security specialists using technology to fight for their customers in an ever-evolving battle against fraud and other security risks.
To bring the work of Commbank’s security team to life, Collider Director Daniel Askill and ALT VFX built a microchip city with a nod to iconic sci-fi films aesthetics and where rogue fraudsters are taken down in-between giant processors and glowing data streams.
Brown Brothers: Brown
AJF GrowthOps
Dylan Duclos, Collider
Dylan Duclos used a colour palette layered with shades of brown and created a beautifully cinematic film for Brown Brothers wines. Individual experiences and adventures are depicted through a series of sensorial imagery.
Flume: Hi This is Flume
Jonathan Zawada, Collider + Lunar
Jonathan created a unique 42 minute music film for electronic artist FLUME. Launched with Flume’s first experimental album, Zawada delivered on an idea of not only producing a film that accentuated the insanity of the album, but by creating an art piece out of a Nissan 300ZX that acted as the centre piece for the journey in the film, an icon for the album art, tour visuals and more.
The film reached over 2.5million views on youtube and inspired a plethora of fan art and appreciation, from home made miniature models of the car to a complete 42 minute remake of the film by one teenage fan.
Pnau: Solid Gold
Clemens Habicht, Collider
Nominated for an Aria for best music video, Solid Gold is a kaleidoscopic, glitter-flecked dance clip merging live action and psychedelic visual effects. Director Clemens Habicht created glowing auras emanating from Kira Devine’s singing body.
The effect was created with a feedback loop on a mirrored set, filming Kira performing in front of a live streamed rear projected screen. Costume, choreography and lighting all contributed to the base layer of the recursive mirroring effects.
Sydney Living Museums: Surveillance
Andrew van der Westhuyzen, Collider + Lunar
Bringing history to life, the Hyde Park Barracks Museum renewal project centres on telling a significant part of Australia’s convict story, its impact on First Nations people and the site’s early contribution to immigration. Collider was engaged to create distinctive digital displays as part of the exhibition experience. ’Surveillance’ seamlessly brings a physical and digital experience together to mimic the original squint holes from the 1800s, which allowed overseers to check up on convicts. The experience is designed to feel voyeuristic and observational, using real-time animation and motion capture techniques to give nuances to the characters and dynamic changes so that each viewing is unique.
The entry deadline for Campaign Brief’s The Work 2020 is TODAY May 15th. Entries are FREE with only an acceptance fee charged for those that make the cut. See full details and enter here… If your agency would like to showcase your best work in our Contenders series email ricki@campaignbrief.com.