| Title | BIODIVERSITÉ |
| Brand | VITTEL |
| Product/Service | VITTEL WATER |
| Category |
B04. Animation |
|
Entrant
|
MIKROS MPC ADVERTISING Paris, FRANCE
|
|
Idea Creation
|
OGILVY Paris, FRANCE
|
|
Production
|
ICONOCLAST Paris, FRANCE
|
|
Post Production
|
MIKROS MPC ADVERTISING Paris, FRANCE
|
Credits
| Alexis Benoit |
Ogilvy |
Creative Director |
| Thomas Yve |
Ogilvy |
Artistic Director |
| Quentin Burette |
Ogilvy |
Copywritter |
| Aurélie Appert |
TV Producer |
TV Producer |
| Johanne Kenniche |
Ogilvy |
Sound Producer |
| Lobelle Lobelle |
Iconoclast |
Director |
| Jean Duhamel |
Iconoclast |
Producer |
| Fabrice Damolini |
Mikros MPC |
Executive Producer |
| Nicolas Huguet |
Mikros MPC |
VFX Producer |
| Guillaume Ho |
Mikros MPC |
VFX Supervisor |
| Guillaume Dadaglio |
Mikros MPC |
CG Supervisor |
| Fabien Barrau |
Mikros MPC |
Print Supervisor |
| André Monteiro |
Mikros MPC |
Lead Character |
| Vincent Coni |
Mikros MPC |
Lead Environment |
| Alexandre Sauthier |
Mikros MPC |
Lead Animation |
| Sébastien Podsialdo |
Mikros MPC |
Lead Compositing |
Write a short summary of what happens in the film
The Vittel campaign, which strengthens the brands commitment towards environmental protection, whilst staying true to its tagline “A Water that is Full of Life”, follows an energetic CG squirrel, in a full CG woodland, who thinks they’re Michael Jordan. Set in the Vosges, the spot opens showing woodland animals within their natural environment, then quickly transforms to reveal their surprising sporting capabilities, before returning back to nature.
Cultural / Context information for the jury
Vittel is a French water brand, which is sold across Europe, that emerges from deep in the lush natural environment of the Vosges Mountains. To showcase this, they wanted to create a European campaign that displays the nature of Vittel in the Vosges.
Tell the jury about type(s) of animation used and summarise any relevant challenges or techniques.
A total of 34 full CG scenes were created for the film with varying camera angles and settings from macro to micro. This required a large number of assets, the starting scene alone features over 15,000 just for the trees – this was a huge artistic challenge to work on both vast expansive scales as well as close up focus. The full CG scenes required a high level of detail on the animated characters, plants and water, with refined lighting and colour to bring the mood of the morning light.
The project was a technical challenge, a vast range of tools were used to build the assets and create the final render alongside a complex pipeline which helped to deliver the project. This enabled the team to deliver up to 300 versions per scene, which aided collaboration among the artists and allowed fast responses from the production team.