Animal Logic Take Home First Prize At Mobius Awards For Carlton Draught, Toohey's And Chanel


Last Updated: February 13, 2006 5:31 pm GMT
The 2006 Mobius Awards Jury have awarded Animal Logic equal First Place in the Special Effects category for its work on Carlton Draught 'Big Ad', Toohey's 'War of the Appliances' and Chanel 'No. 5 - The Film' at the annual Mobius Awards ceremony held at the Directors Guild of America, Los Angeles on Friday night.

In addition, Toohey's 'War of the Appliances' took home First Place in the Computer Animation category, and in a coup for all involved in making the 'Big Ad', it took home the prestigious 'Best in Show' accolade.

Animal Logic's team of producers and artists worked hard to deliver the best digital effects possible for all commercials and the results were rewarded on Friday night. Lee Gluckman Jr., Chairman of Mobius, described the work as "incredible" and said of the equal first-place win: "Each commercial was competing against the other in the Special Effects Technique category along with many other spots. The judges around the world found Animal Logic's work to be so outstanding that each received the highest possible ranking and they decided to award each commercial a First Place Mobius Award. To our knowledge, this has never occurred before in the Mobius Awards Competition."

Animal Logic Executive Producer, Maury Strong was there to accept the awards and thanked the directors, production companies, and agencies that gave Animal Logic the opportunity to work on these outstanding commercials, as well as Mobius for the chance to showcase the work.

The Mobius Awards was founded in 1971. The prestigious competition provides an international forum through which advertising agencies, producers, art directors and designers, TV and radio stations as well as corporate advertisers can attain recognition for creative endeavors.


Carlton Draught, 'Big Ad' (for Foster's Australia)
For the Carlton Draught, 'Big Ad' commercial, Animal Logic artists created 3D computer-generated human extras for all the large, aerial crowd shots, clothed them in flowing robes and then brought them into specialised crowd simulation software called Massive. They were then replicated thousands of times over, with each character being assigned its own random movement and direction. Animal Logic technical directors added behavioural controls and performance parameters that allowed the digital humans to respond to their environment and to the actions of the 'people' surrounding them. This process created the realistic simulation of thousands of human extras choreographed into the stunning mountain valley in which the ad was set.

Animal Logic's crew collaborated closely with director Paul Middleditch from Plaza Films with 3D previsualisation commencing about a month prior to the shoot to determine the camera angles of the crowd shots and the number of 'people' that would appear in each shot making up the various shapes.

The environments for the ad were shot on location in New Zealand. As well as integrating the 3D crowds into these environments, Animal Logic was responsible for creating matte paintings to enhance the backgrounds, giving them a more epic, mountainous feel.

Agency: George Patterson Y&R, Melbourne
Director: Paul Middleditch
Production Co: Plaza Films

Toohey's 'War of the Appliances'
The creative brief for 'War of the Appliances' required the appliances to be animated and characterised to show their 'dark sides'. The washing machine becomes a giant, lumbering wrestler and the vacuum cleaner is its cheekier, more nimble opponent before the svelte pool cleaner adds another dimension to the battle for the beer.

To achieve realistic 3D elements, Animal Logic artists took apart real appliances to study how they were assembled and how they worked internally. By doing this, they were able to get a sense of how the object would move on its own if it were able. The 3D appliances were modelled and matched identically to real ones, including each piece of plastic or metal, dents, bumps and scratches. Part of the challenge of making the animation look realistic was matching the 3D elements to the live action footage.

Warren Brown, Executive Creative Director from BMF said, "Like the preceding Extra Dry advertisement 'Tongue', the success of the ad relied heavily on the effects being of the highest standard. The production teams at Animal Logic and Filmgraphics provided the technical and creative brilliance to achieve what in my view is a stunning result."

Agency: BMF, Sydney
Director: Graeme Burfoot
Production Co: Filmgraphics

Chanel 'No. 5 - The Film'
Based on Animal Logic's previous work for Baz Luhrmann which includes Moulin Rouge and the television commercial for La Boheme, the director once again approached Animal Logic about working with him on this groundbreaking commercial for Chanel's No. 5 fragrance.

Luhrmann approached Animal Logic's visual effects supervisor Chris Godfrey about his vision for the commercial, a love story set over a period of days in a mythical city based on New York. Between Baz Luhrmann, Catherine Martin, Chanel and Animal Logic, a look was developed for the story-driven commercial.

In order to keep the creative process fluid, Animal Logic worked to actively present Luhrmann with options to work with camera angles, looks and tests including a test day with Ms Kidman from which Animal Logic dropped in different backgrounds to achieve a variety of looks.

Although the project is a commercial, with Luhrmann and Martin's film background, 'No. 5 - The Film' was handled like a small film, or like a trailer for a film.

Working collaboratively worked successfully for the entire team at Animal Logic, as the focus is always on the end result. With 'No. 5 - The Film', the pictures certainly speak for themselves.

Director: Baz Luhrmann
Production Co: Bazmark Inq

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