The first line of the treatment for the new Girls Aloud music video begins: “Five glass spheres fall at impossible speeds towards Earth. Protected within these futuristic force fields, Girls Aloud descend through space and time”. The description of this opening idea for ‘Untouchable’ was the hook for international VFX facility Framestore to get involved in the latest Girls Aloud promo.
An ambitious and technical film, created and directed by Marco Puig, Framestore were required to split the VFX work for ‘Untouchable’ into pre and post shoot. Puig wanted to do as much work in camera as possible, so the Framestore team used back projection to create much of the space-scapes before the shoot. This work was then cut into three films – back projection, side projection and reflection projection to put onto the glass spheres.
After the shoot, Framestore set about creating a number of dramatic and exciting wide shots. One involves the glass pods containing the girls entering the earth’s atmosphere, as seen from the earth’s orbit. As the spheres streak through the sky narrowly avoiding an airplane, they burn up like meteors and hurtle towards the planet’s surface.
The images and special effects work alongside side the beautiful members of Girls Aloud dancing raunchily in their pods to create an incredible looking music video.
The schedule was exceedingly short and the entire job, including the shoot, edit, design, VFX and grade, was turned around in just 2 weeks. The promo was exclusively aired for the first time on 25th March, on Channel 4 to a large audience in the high profile time slot immediately after Desperate Housewives.
About Framestore:
Framestore has been working in digital film and video for over 20 years now, creating original and astonishing work that has helped make it the largest visual effects and computer animation studio in Europe.
Among Framestore’s notable commercial credits are Smirnoff Sea (winner, 2007 VES ‘Visual Effects in a Commercial’), The Chemical Brothers The Salmon Dance, Casino Royal – Title Sequence, Vauxhall C’mon campaign, Sure to Go Wild, Guinness noitulovE, Johnnie Walker Fish, Levi’s Odyssey and Guinness Surfer.
Since 2004, Framestore NY has been flying the flag in the world of US commercials, landing work for clients such as GE, FedEx, Hoover, Pepsi, Nike, Smirnoff, and Coca-Cola, and winning top awards including both an Emmy and a VES in 2006.
Framestore’s movie portfolio includes work on such films as The Dark Knight, Australia, A Quantum of Solace, Wanted, Prince Caspian, The Golden Compass, Harry Potter and the Order of the Phoenix, Children of Men and Superman Returns.
Credits:
PRODUCTION COMPANY Warp Films
DIRECTOR Marco Puig
PRODUCER Jon Adams
VFX Framestore
TELECINE Framestore
VFX Supervisors: Paul O’Brien & Darren Agnew
VFX Artists: Paul O’Brien, Darren Agnew, Avtar Bains & George Roper
3D plane Created by: Martin Bovingdon
Grade: Simon Bourne
Executive Producer: Simon Whalley
Production Assistant: Magdalena Przezdziecka
MAXON Computer, the developer of CINEMA 4D and BodyPaint 3D, today announced that CINEMA 4D played a key role in helping The Mill, a world-leading visual effects company, win a visual effects award from the esteemed Visual Effects Society (VES) for its work on Doctor Who, the world’s longest-running science fiction TV series.
This is the first time the series has won an award for visual effects since the opening episode was broadcast by the BBC in 1963. The Mill was recognized with the coveted award for ‘Outstanding Matte Paintings in a Broadcast Program or Commercial’ associated with the Doctor Who episode entitled ‘Silence in the Library’, during the 7th Annual Visual Effects Society (VES) Awards show in Los Angeles on February 23, 2009.
The centerpiece of The Mill’s award-winning effects, a library the size of an entire planet, was created in CINEMA 4D, MAXON’s 3D modeling, rendering and animation program. This element of the project proved particularly challenging due to its immense size and scale coupled with tight television production deadlines.
To achieve the realism required, The Mill turned to the new Global Illumination (GI) render engine in CINEMA 4D; which made short work of rendering scenes that could contain up to six million polygons; and resulted in the creation of superior, flicker-free animation in a fraction of the usual time. The studio also created full 3D environments for the atmospheric shots.
According to The Mill’s Lead Matte Painter, Simon Wicker, CINEMA 4D and its Advanced Render 3 module played a vital role in the creation of the episode. “The results were amazing,” said Wicker. I could render a 175 frame camera animation at widescreen PAL resolution overnight on a Mac Pro without a trace of GI flicker. Without that, these shots would never have been completed on time. CINEMA 4D has always been bulletproof for my work.”
The complete story and images outlining The Mill’s extensive work on the award-winning Doctor Who episode, ‘Silence in the Library’, including details on CINEMA 4D’s Advanced Render 3 module and GI render engine, is available here.
Broquard Studio was called in to help Digital Kitchen with a slick and exciting new rebranding of HBO’s premiere boxing franchises. The creative studio helped execute punched up show packages for HBO’s Boxing After Dark, World Championship Boxing and Pay-Per-View.
With a triple-punch combo of shows to develop creative for, NYC based boutique Broquard Studio needed to bring all of it’s expertise in 2D/3D design, animation and compositing to the project.
“The HBO Sports brand and the boxing packages in particular are the ultimate sports package to work on from a design and motion graphics perspective. It was important to deliver something that had an event-night feel. Incorporating rich finishes and slick glossed surfaces, while also maintaining the energy and vigor that comes from primetime fights was the focus.” Jacques Broquard, Director of Broquard Studio.
About Broquard Studio:
Broquard Studio is a motion graphics, design, animation and visual effects boutique for entertainment and advertising. For information on Broquard Studio visit: www.broquardstudio.com.
About Digital Kitchen:
Digital Kitchen is a creative agency that focuses on film production, experiential design, motion graphics, brand identity, and interactive work for marketing and entertainment. For more information on Digital Kitchen visit: www.d-kitchen.com
Ever wonder what’s happening right now? More than you think, as we found out in this campaign designed and co-directed by Superfad for Sprint via Goodby, Silverstein & Partners.
The Now Network is brought to life when everything from business people to bananas (and bloodhounds,too) are duplicated and distributed in a whimsical turn on infographic style.
About Superfad
Superfad is a production company that was founded in 2001. Superfad has produced award-winning work for many of the most respected brands worldwide. Honda, Sony, Target, Adidas, and AT&T are just a few of the companies who have turned to Superfad for inspired branding.
CREDITS:
Client: Sprint
Spot Title: Anthem :60
Airdate: April 6, 2008
Agency: Goodby, Silverstein & Partners
Co-Chairman, Creative Director: Rich Silverstein Creative Director/Copywriter: Franklin Tipton Group Creative Director: Christian Haas Art Directors: Christian Haas, Paul Stechschulte
Copywriters: Will Elliott, Roger Hoard
Producer: Rob Sondik
Executive Producer: Josh Reynolds
Live Action Production Company: Supply & Demand Director of Live Action: Jeffery Plansker Executive Producer: Kira Carstensen
Producer: Laure Stevens
Director of Photography: Neil Shapiro
Production Designer: Carl Swanberg
Design/Animation/Visual Effects/Editing Company: Superfad Creative Director/Director of Animation: Will Hyde Executive Producers: Kevin Batten & Rob Sanborn Senior Art Director: Kevin Lau Art Director: Will Johnson
Producer: Danielle Hazan
Editor: Charles Jensen
Flame: Joana Cruz
3D: Yates Holley, Tim Kadowaki, Bryan Cox, Ian Mankowski, Damon Snyder, Henry Foster, Billy Maloney
Compositors: Miles Kinghorn& Claudia Yi Leon
Designers/Compositors: Sandy Chang & Paul Yei
Compositor/3D: Carlos Florez
Crash, the Academy Award winning film, is now a series on the Starz Network, marking the network’s first-ever original series. With so much riding on the show’s success, Starz turned to New York-based PMcD Design, part of the transmedia branding and design group LORI PATE+, to design and produce the comprehensive promotional package that includes IDs, end pages, long form title sequence and a comprehensive toolkit for Starz producers and editors to use for tease, launch and episodic campaigns.
For Patrick McDonough, founder/creative director of PMcD, the package needed to convey the essence of the show — characters from different backgrounds on separate journeys until fates collide and lives are changed forever. To capture the elements of tension and danger, McDonough and his creative team in collaboration with Brian Kintz and the Starz team shot images of glass shattering and metal twisting as well as time-lapse footage of the Los Angeles skyline using the super high-speed Phantom digital camera (1000 fps), The show’s logo is seen projected over myriad surfaces and layered throughout the footage and graphic elements.
”The idea was to graphically illustrate the uneasy and volatile quality of the relationships seen in the show,” McDonough said. ”The high-speed photography of breaking glass and crushing metal visually suggests the random destruction of lives. We also wanted to capture the character of Los Angeles and give it a sensual quality. The time-lapse photography captures a feeling of chaos and the randomness of life in general.”
Starring an ensemble cast led by veteran character actor and 60’s icon Dennis Hopper, the series examines the way different lives intersect and collide in L.A’s cultural melting pot. The drama features a disparate group of Los Angelinos, including maverick record producer Ben Cendars (Dennis Hopper); impulsive cop Kenny Battaglia (Ross McCall); his actress-turned-police officer partner Bebe Arcel (Arlene Tur); frustrated Brentwood mom Christine Emory (Clare Carey); her pre-bust real-estate developer husband Peter Emory (D.B. Sweeney); former gang member-turned-EMT Eddie Choi (Brian Tee); Ben’s street-smart driver Anthony Adams (Jocko Sims); illegal Guatemalan immigrant Cesar Uman (Luis Chavez); and cocky, hot-tempered detective Axel Finet (Nick Tarabay).
For PMcD designer /director Suzanne Kiley the challenge was making the best use of the array of footage they had to work with — the elements they shot, footage from the show and the Starz logo.
”My biggest concern was designing elements that use the best of the beautiful, organic live action elements within the typographic framework that supported the show and created a strong brand personality,” Kiiley said. ”I wanted to make sure all of the selects from the slow motion crushing metal, glass and projections were incorporated within all of the deliverables.”
ABOUT PMcD DESIGN:
PMcD Design is a New York-based, full-service design company. PMcD specializes in all aspects of broadcast, and print design as well as production for the entertainment industry. Clients include ABC, NBC, ESPN, NGC, Starz, Encore, PBS and WNET. PMcD Design is part of LORI PATE+, a transmedia branding and design group.
About LORI PATE+:
LORI PATE+ represents the top branding, promotion, design, interactive and production professionals in the broadcast, cable and evolving media industries. Experienced and innovative, LORI PATE+ connects clients to its members to produce effective media branding solutions.
Creative Credits
Client: Starz
Project: Crash promotional campaign
Art Director: Brian Kintz
Executive Director, Creative Services: Kandy Barry
Executive Director, Creative Services: Marc Chusid
Vice President, On-Air Promotions: Che Che Mata
Director, Starz Channels: Stacey Libbrecht
Production/Design: PMcD Design, New York
Creative Director: Patrick McDonough
Executive Producer: Dana Bonomo
Designer: Suzanne Kiley
Producer: Alison Cole
Live Action Producer: Alessandra Pasquino
Director / DP: Andrew Turman
Lead Animator: Alex Gasowski
Animation / Editor: Genevieve Manion
Media Artist: Josh Lynne
How do you distill the world’s collective understanding and evidence of UFOs into three-and-a-half minutes? That was the challenge facing visual design and motion graphics studio yU+co., led by Creative Director Garson Yu, for the main title sequence to Disney’s Race To Witch Mountain, opening in theatres on March 13.
Race to Witch Mountain is a sci-fi adventure about two alien visitors and their search for their lost spacecraft. For the main title sequence, yU+co.’s concept was to tell the story of UFO’s from early sightings in the U.S. to present day, using archival newspaper headlines, film footage, photos and eyewitness accounts of UFO sightings. Set to a pulsating orchestral score, the tension-filled sequence immediately pulls viewers into this mysterious world with fast-paced editing of astonishing UFO imagery coupled with a subtle, yet powerful type design that animates on and off as if emanating from an extraterrestrial transmission signal.
For example, yU+co treated some of the clips with film scratches and burns to simulate aging film stock from the 50’s. They also added microfiche animations on the sections that covered the1980’s, and overlaid TV scan-lines to many of the clips that belonged in the 1990’s and later.
”Race To Witch Mountain represents the third time we worked with director Andy Fickman,” says Yu, who previously worked with Fickman on The Game Plan and She’s the Man. ”I’m proud of the fact that so many top directors like Andy, Zack Snyder, Ang Lee and many others continue to come back to us for titles. It says a lot about both the creativity we bring to each project and the collaborative nature between yU+co. and the director. This project was especially challenging, but we’re proud we could bring Andy’s vision for the titles to life.”
”The main title sequence started in the editing room by researching hundreds of pieces of archival UFO footage that would help us tell the story,” says Synderela Peng, yU+co.’s Art Director. ”We delineated decades of UFO discoveries, beginning with the 1950’s to the present day. We also spent a lot of time on details like treating the headlines and the film footage so they reflect the time period they were supposed to be from.”
”The main title went through several transformations,” Peng adds. ”Andy [Fickman, the director] was very specific about what he wanted in the final. He asked for a title sequence that built the mystique and the history of UFO’s and uses the wealth of footage that have been captured throughout time, mixing it with newspaper and magazine headlines to help inform the viewers on seminal UFO sightings. Typographically, we went with a classic font that was reminiscent of what you would see in 1920’s tabloid newspaper headlines.”
While the creative challenges were many, for David Garber, yU+co.’s Executive Producer, the approval process for using the archival footage proved to be extremely complex, requiring a coordinated effort with Disney’s legal team.
”There were some incidents where we had fallen in love with a piece of footage and how it fit into the whole piece only to find out Disney couldn’t secure the rights and we had go back and find something different,” Garber says. ”There was a lot intricate legal footwork happening. In the end everyone was happy with the way it came out and I think audiences are going to be struck by it.”
In addition to Race to Witch Mountain, other yU+co. projects include the re-teaming with director Zack Snyder (300) for the main title sequence of Warner Bros.’ Watchmen, and the overall visual design and motion graphics applied as visual effects for Lakeshore Entertainment/Lionsgate’s upcoming futuristic thriller, Game. yU+co. also created the cinematics for Capcom’s new release of the popular video game franchise, Resident Evil 5.
About yU+co:
Recognized as an industry leader in visual design and motion graphics with offices in Hollywood, Hong Kong, and Shanghai, yU+co specializes in digital content for all media platforms as well as for title design for film and television, visual effects and animation, theatrical logos, game cinematics and commercials. For more information, contact: Dianna Costello (feature film and television); or Michael Bennett (gaming/game cinematics and commercials) at 323-606-5050.
Mekanism’s Ian Kovalik directs a five spot package of live action/animated :30s for Charles Schwab. In the commercials Charles Schwab & Co encourages potential savers, cautious in the present precarious financial climate, to “Do Something About It”.
Mekanism is a San Francisco and New York based creative production studio, housing film, animation and digital content creators. Mekanism sprinkle thier love of good storytelling on viral campaigns, commercials and branded entertainment to inspire measurable brand loyalty.
About Charles Schwab & Co
The Charles Schwab Corporation helps millions of people save, invest and manage their money. Schwab is the industry leader in serving Registered Investment Advisors, and they manage retirement plans for companies of all sizes.
The Creds:
Client: Charles Schwab & Co.
Spots Title: Shore Up (featured)
Air Date: February 2009
Agency: EuroRSCG
Creative Director(s): Simon Nickson, Drummond Berman
Senior Producer: Jeff Stock
Prod Company: Mekanism
Director: Ian Kovalik
EP(s): Jason Harris, Mat Lundberg
Producer: Tim Rayel
Animation Company: Mekanism
Lead Animator: Tom Westerlin
Editorial: Mekanism
Finishing: Berwyn Editorial
Post Producer: Cecilia Lewis
About Mekanism:
In an ordinary barn, of a quiet small town, a little girl will be faced with an extraordinary event ….. ….. “Meet Meline” tells the story of a young girl who spends much of her time playing in a dusty old wooden out-shed at her grandparents home.
One day, whilst in the midst of her favourite past time of drawing, Méline suddenly finds herself face to face with an unknown furry creature. This short animated film follows a petite heroine called Méline as she makes a discovery of a lifetime …..
“Meet Méline” is the brainchild and loving creation of 3D artists and creative directors Virginie Goyons and Sebastien Laban.
Initially the idea behind the project was to produce a 20 second clip that would provide a platform on which the two artists could develop and perfect their skills ….. two years later the piece has developed into a short animated film.
Goyons and Laban have recently completed a teaser trailer that gives a clear view of the character of Méline but keeps details of the plotline under wraps ….. ensuring we are intrigued to see more.
“Meet Méline” The Short Film and “Meet Méline” The Making of : are both due for release in 2009.
The making of “Meet Méline” has also lead to the production of a hard backed book and some beautiful, emotive poster artwork.
Dimension 3 the world’s leading festival for professionals involved in 3D stereoscopic production, post and display, will take place in Paris, France, from 2 – 4 June 2009.
Now in its third year, Dimension 3 will again be the crucial meeting-point for performers, technical and business professionals who create 3D stereo content for cinema, TV, video games, home entertainment, communications and training – underlining its position as the No.1 forum on the calendar for the 3D industry.
This year, Dimension 3 will take place at the National Dance Centre (Centre National de la Danse), Pantin, in the Seine-Saint-Denis region of Paris, an area that strongly supports 3D research and production.
For three days, visitors and exhibitors will discover the latest innovations in 3D stereo, whilst also evaluating the maturity of current creation and visualization solutions dedicated to the 3D imagery, and their diverse applications.
More than 60 international experts will gather at the International Forum dedicated to 3D images, to discuss technological, creative and economic matters in a series of illuminating Dimension 3 Lectures and Masterclasses. Details to be release soon.
A new feature this year’s Dimension 3 will be a space for professional 3D producers to present their 3D creations and technical know-how. There will also be a brand new Immersion Area showcasing cutting-edge 3D stereo experimentation in video games, telecommunications and business marketing tools. The Immersion Area provides a unique opportunity to discover, test and try all of today’s 3D novelties, that could become tomorrow’s commercial essentials.
Dimension 3, third edition, will continue its entertaining and educational ambitions with an absorbing exhibition about the history of 3D technologies. Dimension 3 will also offer bilingual (French/English) training programmes and support for the development of 3D content with a Writing Talent Grant.
SUPPORTERS FOR DIMENSION 3 2009:
Companies already supporting Dimension 3 2009 include: 3D Revolution, Assimilate, Attitude Studio, Auditoire, Autodesk, BskyB, Color Code, Dassault Systems, Digimage Cinema, Dolby, Doremi Cinema, Eutelsat, The Foundry, Imax, Inition, In-Three, Iridas, Iz3D, Futuroscope, Mercenaries Engineering, Panasonic, Principal Large Format, Samsung, Sensio, SMPTE, Tempere University of Technology, Thomson and Xpand.
KEY FIGURES FROM DIMENSION 3 2008:
• 325 professional visitors (up 62% from the first edition)
• 3,900 viewers at the public screenings (50% up from the first edition)
• 8 hours of 3D programs
• Special Premieres of Hannah Montana and Scar 3-D
• Over 25 exhibitors in 3D audio-visual, cinema, games, display and digital signage
• Over 50 expert speakers
• 150 attendees every day at the professional conferences
• 20 participants on the training course on 3D production (AFDAScertified training)
THE STATE OF THE 3D INDUSTRY:
• In France, screenings of the 3D version of Journey To The Center Of The Earth attracted four times more viewers than the 2D version
• Over 10,000 theatres in the USA will feature digital projectors by 2011
• Over 13 feature films in 3D are scheduled for release in 2009-2010 (including Spielberg’s Tintin and James Cameron’s Avatar)
Further Information:
For further information please visit www.dimension3-expo.com
Dimension 3 is supported by the Conseil Général of the Seine-Saint-Denis and is organised by Seine Saint-Denis Avenir – an agency for the economic development of the Seine Saint-Denis –in partnership with Avance Rapide Communication.
The original Coca Cola ‘Happiness Factory’ commercial is now several years old, but the tale of this animated world is still unfolding and continues to delight. The ‘Happiness Factory’ series is the genius collaboration from ad agency Wieden+Kennedy and creative studio Psyop that takes us to a magical world beyond the Coca-Cola vending machine.
Coca Cola has recently launched ‘Happiness Factory 3’ which illustrates the uplift factor of Coca Cola and how it revitalizes both the drinker; and the lovable inhabitants of the Happiness Factory.
This latest spot is part of an integrated campaign that includes radio promotions, online social networking; and an innovative partnership with Xbox. In addition the commercial features a track created by a supergroup comprised of Cee-lo, Patrick Stump from Fall Out Boy, Brendon Urie from Panic at the Disco, Travis McCoy from Gym Class Heroes and r’n'b sensation Janelle Monae.
‘Happiness Factory 3’ follows on from the original ‘Happiness Factory‘ spot, ‘Happiness Factory II – The Movie’ and a behind the scenes ‘Mokumentary’.
The ‘Happiness Factory’ stories from the Coca Cola, Wieden+Kennedy and Psyop collective, bring much gladness and a message of positivity to our presently troubled world. In this special CGNews feature article we revisit each of the animated shorts in the series.
HAPPINESS FACTORY – ORIGINAL
The original spot begins with live action footage of a man putting money into a Coke vending machine slot. The camera follows the coin as it rolls down a chute, down the side of a mountain and disappears into a waterfall. We are now in the magical animated world of the ‘Happiness Factory’.
Large flying creatures with rotating blades carry an empty bottle to be filled by a tube suspended from the sky. Small fluffy creatures with large lips kiss the full bottle with great affection before the iconic red screw cap is catapulted and secured tightly into place.
Next the bottle travels through a wintery landscape where it is cooled by snowmen and icicles and then dropped through a hole in the ice. Finally the bottle makes its way through a hero’s parade, serenaded by marching bands and fireworks before it is rolled out into the vending machine chute.
” Our visual premise was one of blending machinery and natural elements, within which we added all these exotic creatures performing their particular functions. From some initial ideas about a ‘factory,’ we moved on to this insanely epic fantasy landscape. We suspended all rules of objective reality and focused on getting this bottle delivered in the most ridiculously large and crazy way possible. We discovered that the spot was more about all the characters than the factory process, and that was the key to it’s success.” Kylie Matulick, Director, Psyop.
HAPPINESS FACTORY MOKUMENTARY
The award winning Coca-Cola commercial ‘Happiness Factory’ now opens its doors and takes you ‘behind the magical scenes’ with this clever and amusing e-documentary. Get to know all your favourite characters including the Luv Puppies, Chinoinks and Wendy The Majorette. Some of the voices are reported to be portrayed by actual Coca-Cola employees.
“We party like it’s 2999 every time someone wants a Coke. Which is all the time. But I never get tired of watching the Poppers being shot like confetti over the parade . . . you know, the parade which carries the bottle to the customer. We never get to see them, of course. The customer. But the fact that the party never stops must mean they like The Coke Side of Life.” Wendy The Majorette.
HAPPINESS FACTORY II – THE MOVIE
‘Happiness Factory – The Movie’ tells the tale of what happens when the Happiness Factory runs out of Coke. On 14 August 2007, this special animation feature was screened to a crowd of more than 100 glamorous avatars and media from 16 countries. The red-carpet premiere for this event took place in the Coke Cinema on Happiness Boulevard in the virtual world of Second Life.
The most recent spot in the series begins with a weary student approaching a Coke vending machine, yawning as he places his coin in the money slot. The yawn is contagious and is passed on to the Happiness Factory workers beyond.
Each of the magical characters catch the drowsiness in turn and the normally busy and upbeat world of the Happiness Factory slows down to a sleepy unproductive pace. Before they reach a full halt The Majorette pulls herself together, claps her hands and brings forth a thousand mechanical arms from the surrounding hillsides bearing chilled bottles of Coca-Cola. The inhabitants of the Happiness Factory drink the coke with relish and, re-invigorated and happy, head back to work.
CREDITS FOR HAPPINESS FACTORY (ORIGINAL)
Advertising Agency: Wieden + Kennedy, Amsterdam, The Netherlands
Creative Directors: Al Moseley & John Norman
Copywriter: Al Moseley (Rick Condors)
Art Director: John Norman (Hunter Hindman)
Account Team: Sylvain Lierre & Ryan Lietaer
Producer: Sandy Reay
Assistant Producer: Kimia Farshidzad
Executive Creative Directors: Al Moseley & John Norman
Agency Executive Producer: Tom Dunlap
Agency Editor: Ken Rosenberg
Production Company: Psyop, New York
Directors: Todd Mueller & Kylie Matulick
Executive Producers: Justin Booth-Clibborn, Boo Wong
Producer: Mariya Shikher
Art Director/TD: David Chontos
Animation Director: Nicholas Weigel
Storyboard Artist/Designer: Ben Chan
Lighting/Rendering Lead: Saira Mathew
FX Lead: Pete Hamilton
Compositing Lead: Jason Conradt
Live Action Prod company: Seven Senses, Madrid
Director: Andreas Hoffman
Executive Producer: Alvaro Weber
Producer: Alvaro Weber
Director of Photography: David Carretero
Music: Human
Sound Design: Amber
Sound Designer: Bill Chesley
Executive Producer: Kate Gibson
Final Mix: Sound Lounge
Mixer: Philip Loeb
SOURCES
Dexigner.com article – The Coke Side of Life: PSYOP’s New Mega Spot For Coke by Levent Ozler 16 July 2006 (view here)
Veerle’s Blog – veerle.duoh.com blog by Veerle Pieters – 24 August 2007 (view here)
