| Title | BIRTH |
| Brand | AUDI |
| Product/Service | AUDI |
| Category |
A01. Direction |
|
Entrant Company
|
MILL+ London, UNITED KINGDOM
|
|
Advertising Agency
|
BBH London, UNITED KINGDOM
|
|
Production Company
|
MILL+ London, UNITED KINGDOM
|
Credits
| Davud Karbassioun |
Bbh |
Agency Producer |
| Ian Heartfield |
Bbh |
Creative Director |
| Dominic Goldman/Ian Heartfield |
Bbh |
Creatives |
| Rupert Sanders |
Mjz |
Creative Consultant |
| Jen Wood |
Bbh |
Assistant Producer |
| Will Lion |
Bbh |
Strategy Director |
| Polly Mcmorrow |
Bbh |
Business Lead |
| Stephen Jones |
Bbh |
Team Manager |
| Andrew Proctor |
Mill/ |
Director |
| Adriane Scott-kemp |
Mill/ |
Producer |
| Gemma Humphries |
Mill/ |
Executive Vfx Producer |
| Gianluca Di Marco |
Mill/ |
2d Lead Artist |
| Michael Chapman |
Mill/ |
3d Lead Artist |
| Stefan Susemihl/Olivia O’neil/Matt (wispy) Clarke/James Pratt |
Mill/ |
2d Artists |
| Sergio Xisto/Philip Maddock/Adam Darrah/James Mulholland/David Hempstead/Chris H |
Mill/ |
3d Artists |
| Alex Caldow |
Mill/ |
Concept Artist |
| Matthew Osborne |
Mill/ |
Colourist |
| Will Cohen |
String/Tins |
Sound Design |
| Sam Brock |
String/Tins |
Sound Producer |
The Campaign
Staying true to the Audi ‘Vorsprung durch Technik’ values, this progressive and technological 110- second spot, Birth, sees Audi’s iconic R8 model giving birth to the new sleek RS3 Sportback in a futuristic and atmospheric birthing chamber.
Creative Execution
A team of VFX artists, led by a director who has a background in CGI, carefully crafted the cars and environment entirely in CGI over the course of just nine weeks to help create a powerful, mechanical and organic spot.
The Director was involved at every stage of the project, from the concept of a fully CGI mood film which he developed himself, to the final execution`; creating a 100% photo real environment and two photo-real cars.
Every single component of each car was precisely crafted in CGI using CAD data. The distinctive environment was then modelled and rigged in meticulous detail along with the CGI cars in Maya, before each shot was passed on to the animation team, who aided in bringing the CGI sequence to life.
Through his direction, he wanted the audience to feel the animalistic power and life emanating from the R8, ensuring that the use of CGI didn’t make the spot feel too clinical or cold. He ensured the animation was so, that the spot feels much more emotive, with real power in its darkness. The team worked closely to convey a narrative, which treads the line between violent and clinical and organic.