Behind The Creative: Intu 'the Impossible Gift'
Into our one of the UK’s largest shopping center companies we have 14 into shopping centers up and down the UK and we serve about a million people are diagnosed the the essence of into is around customers of customer centricity of the brand and placing the customer at the center of everything that we do we embarked with a juror.
On a journey with now three years ago and they embraced the.
Customer centricity aspect of into this year is all about those impossible gifts that people can’t find the way that the story works it’s about a mum finding almost an impossible gift for her daughter little duckling that can’t fly so the mum goes and goes – when – to find a really interesting different way of solving that problem.
It’s Christmas it’s always new all emotional ISM and I think there’s obviously a watch out with that it feels saturated just have another emotion story but I think the way that we’ve built this and the way that we’ve made it I think.
Just adds something a little bit different so I think that’s ok it’s alright to be emotional but just be emotional but it’s doing a different way it’s top.
Frame animation as a technique is very controlled like every single element of what you’re doing is is hand-built so from the sets set to the set designers the art direction natural puppets selves they’re all built by specialist team little things actually that I really loved.
Like the story was about a duckling who wanted to fly so her bedroom was kind of laced with little clues that kind of led you towards that story so she had lit lights from the wall paper which were covered in stars little aeroplanes and like a little aeroplane mobile on the ceiling all supported the story the last two shots the penultimate show on the last shot where the documents on the drone were really quite tricky those.
Huge amount going on so every single frame the animator was actually having to manipulate about seven or eight different things from obviously the duckling the drone as well was on a separate rig and the grass all the way around the drone and it was every little stick and stone that were in the grass were being animated separately as well one frame.
At a time so until you’ve literally didn’t finished it it can’t see what it’s going to look like I think that can be quite nerve-wracking for a client so it meant that.
We had to be really everything was very very carefully planned we had a very tight animatic and lots of very detailed drawings that showed the client.
Exactly how the story was going.
To play out what the actions were going to be also we were working a lot with references of my niece who’s she’s about four ninety five so a bit younger but very expressive so I was filming her quite a lot.
Jumping around jumping off the bed small things that I knew were in the script I was filming.
Her as a reference and then this thought from Annoying to actually had that video reference on their monitor whilst they were animating so they were able to kind of like build in some of those small nuances that children do that you just can’t unless you’ve got that reference you you can can’t make that stuff up well.