Title | WIND |
Brand | AUDI |
Product/Service | AUDI S5 COUPÉ |
Category |
A11. Visual Effects |
Entrant
|
THJNK Berlin, GERMANY
|
Idea Creation
|
THJNK Berlin, GERMANY
|
Production
|
MARKENFILM Berlin, GERMANY
|
Additional Company
|
NHB Berlin, GERMANY
|
Credits
Armin Jochum |
thjnk ag |
CCO |
Stefan Schulte |
thjnk Berlin GmbH |
Executive Creative Director |
Siyamak Jung |
thjnk Berlin GmbH |
Creative Director |
Anne Isert |
thjnk Berlin GmbH |
Creative Director |
Claudia Kuprat |
thjnk Berlin GmbH |
Art Director |
Hendrik Heine |
thjnk Berlin GmbH |
Account Director |
Nicole Jänsch |
thjnk Berlin GmbH |
Account Manager |
Carolin Hons |
thjnk Berlin GmbH |
Account Manager |
Holger Jaquet |
Markenfilm Berlin GmbH |
DOP |
Thomas Bartl |
Markenfilm Berlin GmbH |
Producer |
Holger Jaquet |
Markenfilm Berlin GmbH |
Director |
Wenke Kleine-Benne |
nhb |
Sounddesign |
Marc Bieri |
thjnk Berlin GmbH |
Copy |
Nhat Quang Tran |
Nhat Quang Tran |
Visual Effects / VFX |
Brief Explanation
The TVC points out the sportiness and the outstanding
aerodynamical design of the all-new Audi S5.
Based on the fact that the all-new Audi S5 has the best air
drag coefficient of its vehicle category, the topic of the spot is
inspired by the streamlined design of the car.
The Audi S5 is so stunning, even the wind holds its breath
while the car drives by.
English Translation of Main Headlines
We used visual effects to art direct the landscape of Extremadura, Spain.
To visualize the idea of wind, we brought different elements together using
digital compositing, like sheeps, flying grass or clouds in the sky. Furtheron
we did digital matte paintings to add more scale to the scenery by adding
distant mountains, or tiny elements like water tanks and trees to make the
whole picture become bigger. The trees on the road itself are digital to gain
control over wind movement and intensity. A subtle balancing we did till the
very end of the project. Finally we used visual effects to direct the rhythm of
the film. The rhythm of the car appearing by adjusting the height of the street
and number of bumps, as well as the timing for the dust elements in foreground
using retiming. Finally we ensured one simple last thing: each element
became an invisible part of one big picture, which supports the idea."