Title	SHAPE YOUR TIME
Brand	CARTIER
Product/Service	WATCHES
Category	A11. Visual Effects
Entrant Company	QUAD PRODUCTIONS Clichy, FRANCE
Advertising Agency	PUBLICIS 133 Paris, FRANCE
Production Company	QUAD PRODUCTIONS Clichy, FRANCE

Name	Company	Position
Bruno Aveillan	Quad Productions	Director
Martin Coulais	Quad Productions	Executive Producer
Bruno Aveillan	Quad Productions	Director Of Photography
Claudia Traeger	Quad Productions	Line Producer
Nataly Aveillan	Fix Studio	Post Producer
Guillaume Audibet	Fix Studio	Assistant Post-producer
Thanh Long Bach	Fix Studio	Editor
Benoit Revillod	Fix Studio	3d Supervisor
Bruno Maillard	Fix Studio	Flame Artist
Michael Marques	Fix Studio	Flame Artist
Micha Sher	Fix Studio	Flame Artist
Jean-clement	Mpc London	Colourist
Charles Georges-picot	Publicis 133	Ceo
Donatien Souriau	Publicis 133	Business Director
Sébastien Vacherot	Publicis 133	Chief Creative Officer
Antoine Bonodot	Publicis 133	Creative Director
Patrick Pauwels	Patrick Pauwels	Head Of Tv Production
Christine Bouffort	Prodigious	Agency Producer
Laurent Favard/Emmanuel Rambaldi/Pierre Adenot/Antonio Gambale/David Menke	Prodigious	Music
Estelle Chiron, François Poupon	Fix Studio	2D graphists
Jérôme Billet, Frederic Perrin, Olivier Puechberty	Fix Studio	Matte painters

The Campaign

The viewer is taken deep into Cartier time, from the first inventions – today's grand classics – to the latest concept watches that showcase the watchmaking of tomorrow. A journey of eternal pioneers through the secrets of workshops, all driven by the rhythm of gear trains and mechanisms in motion.

Creative Execution

The defining feature of the film 'Shape Your Time' stems from it requiring a realism pushed to the extreme, and it was necessary to find this realism at every moment in this universe by director Bruno Aveillan that is both fantastical and creditable. As in the previous Opus, 'The Odyssey', Bruno Aveillan wanted to film existing sets and mix real elements with 3D to arrive at an almost photographic realism. Primarily, this principle brings a reality and true emotion to the very post produced images, but also significantly complicates the 3D and compositing work. Each of the 150 shots which make up the 4 minutes of the film, were therefore treated in post production. It took 6 months of post-production with more than 50 graphic designers, each a specialist in his field, and we created specific workflows to mix many softwares and talents. Given the number of different worlds crossed in the film and requirements of Bruno's vision, certain scenes required many rounds to arrive at the right balance and perfect continuity in the artistic direction of the film.