| Title | OLYMPIC FILM |
| Brand | TINE MELK |
| Product/Service | TINE MELK |
| Category |
A10. ANIMATION |
|
Entrant Company
|
THE MILL London, UNITED KINGDOM
|
|
Advertising Agency
|
THE MILL London, UNITED KINGDOM
|
|
Production Company
|
ANIMASJONSDEPARTEMENTET Oslo, NORWAY
|
|
Production Company 2
|
THE MILL London, UNITED KINGDOM
|
Credits
| Martin Engh |
Animasjonsdepartementet |
Director |
| Jakob Thommessen |
Animasjonsdepartementet |
Producer |
| Alex Finch |
The Mill |
Producer |
| Matt Whitewood |
The Mill |
3d Artist |
| Antar Walker |
The Mill |
Art Director |
| Shaun Leong/Williams |
The Mill |
Compositor |
| Matt Partridge/Roly Edwards/Freya Barnsley |
The Mill |
2d Cell Animation) |
| German Casado |
The Mill |
Matte Painting |
| Aurelien Ronceray |
The Mill |
Concept Artist |
| Charles Bigeast |
The Mill |
Artwork |
| Mick Vincent |
The Mill |
Colourist |
Brief Explanation
Norwegian folklore is brought to life in this illustrative spot for Tine Milk's 'Winter Olympics' campaign
This collaborative project for Tine, displays a battle between the elements and Marit Bjørgen, the Norwegian cross-country skier. Our protagonist encounters a series of deadly obstacles such as avalanches, wolves and trolls, synonymous with Norwegian folklore. Taking influence from famous Norwegian illustrator, Theodor Kittelsen, we see the icy world brought to life by our team of Flash, Cinema 4D and After Effects artists.
Creative Execution
This was a unique project combining a fusion of traditional hand animation, 3D, camera projection and compositing to tell a Norwegian folklore tale with a modern twist. The project was a technical challenge and offered a chance to experiment with different animation techniques, as well as develop the visual style along the way.
For the whole film previs was done in 3D, making sure all the camera moves were perfect and the edit was locked. Flash cell animators then created the frame by frame animation of the skier and wolves over the top of this previs render.
Matte paintings were projected onto 3D geometry to give them depth, and allow the camera to travel through the snowy world.
These 3D renders were then composited together with the cell animated characters, weather, snow and further lighting effects were added. The final composite was then passed through colour for corrections and a ‘beauty pass’.