Hermes Pardini Laboratories, Ogilvy Brazil and Lobo, teamed up to battle one of the world’s most powerful forces: children’s fear of taking vaccine shots.
The strategy chosen against such seemingly unbeatable challenge was to create an immersive fantasy world in which the child becomes a hero, and the vaccine shot a shield that helps her defend the realm against an enemy invasion.
This experience could only be created with VR technology, and all it takes is a headset and smartphone for the child to become so enthralled by the fantastic environment and the engaging story that he completely forgets about the shot, and the crying and screaming gives way to excitement and awe.
Fire is one of the major symbols of the traditional Brazilian Midwinter festival, known as “Festa Junina” (June Festival). It’s present in the celebratory bonfires, fireworks and in the magic that transforms the ingredients produced for more than 25 years by Yoki Foods – such as corn, peanuts and potatoes – into the typical delicacies of the season.
Crispin Porter+Bogusky Brazil and Lobo joined forces to consolidate the Yoki brand as the “Ambassador for the June Festival” in a poetic, touching way. The film titled “Bonfire” tells a love story between the spirit of Fire and a country girl that embodies the Festival itself. Fire is first seen as a lonely, sad creature, incapable of interacting with any object without making it go up in flames. Suddenly, he meets June Festival and finds a reason for being, by filling the celebration with light, warmth, and flavor.
The film was made entirely in 3D animation, with a playful, tactile visual language that simulates wooden puppets, paying tribute to the folkloric roots of the June Festival.
This is one of those projects that’s gratifying in so many levels, combining bold visual style, cutting-edge technology and, more importantly, a noble cause.
Lobo, with the help of their new division, Lab, dedicated to digital media, brought to fruition the campaign created by DAVID to promote Faber-Castell’s EcoPencil line, made of 100% reforested wood.
Comprising a TV and online ad and a mobile app, the communication shows the pencils transforming into 13 different animals from the Brazilian fauna, conveying the idea that the EcoPencil line not only helps preserve the trees, but also the whole ecosystem that depends on them.
To use the AR app all the child has to do is point the camera on her cell phone or tablet at one of the brand’s pencils, and a 3D animal appears according to the color of the object, along with information about its species. It’s also possible to paint the animals to give each of them a unique appearance, giving the child the opportunity to assemble her own customized, playful and informative collection.
Direct from the showroom floor, Volkswagen presents four immersive virtual experiences utilizing equipment of the highest technology and surprising image quality. Learn about each of these experiences and make sure you check them out at the event.
Using virtual reality and 4D cinema, visitors are transported into the car manufacturers universe. Starting with a tour exploring the birth of it’s cars, continuing through Volkswagen’s iconic headquarters in Germany – Autostadt, and on through some of the pillars of the brand, with a a special surprise at the end. The experience provides a fun and entertaining journey through which the visitor is given a small taste of proximity to a brand inspired by their own life!
The TSI engine is synonymous with power and technology. And it was for this reason that Volkswagen decided to showcase all of its performance through this immersive experience.
Using virtual reality googles within a powerful movement simulator, the visitor is ‘miniaturized’for a journey through the engine itself. There could only be one outcome – an explosive adventure that will really get inside the visitor’s head.
The New Saveiro Cross is so beautiful that you’re going to want to see it up close. But for that, you’ll need to prove that you have and adventurous spirit, just like that of the pickup. In this experience, the visitor is transported to the highest point of a canyon, where a falcon has stolen the car keys. The task is simple: get to the bird at the end of a narrow bridge and retrieve the keys… 40 meters above the canyon floor. Are you up for the challenge?
From the VIP area of Volksvagen’s stand at the showroom, the visitor can experience the performance of the up!TSI in a unique way: a digital concierge presents the very best of the car though sophisticated holograms of the up!TSI. To achieve this, the most modern mixed reality equipment has been utilized – the HoloLens. This experience will completely change your perception of thecnology.
Leo Burnett and Vetor Zero get together to build a very peculiar lab with the purpose of demonstrating the new Fiat Uno’s features.
The commercial titled “Lab” proposes an innovative and intriguing answer to that lifelong challenge: how do we present the features of a new car model in a creative and instructive way, translating technical terms into a more fun, approachable language? The solution devised by Leo Burnett and brought to life by Vetor Zero was to build an enormous laboratory/test track, chockfull of unusual gadgets designed to demonstrate the Uno’s main features in playful, surprising ways, at the same time that it reinforces the link between the vehicle and the idea of advanced technology.
In that spirit, we see the model’s torque illustrated by one of the tires being wrapped in sandpaper, so it strikes an oversized matchstick when the wheel starts turning very fast; the Dualogic Plus gearshift is put to the test while the Uno – complete with appendages that give it a cat-like “face” –chases a remote-control mechanical mouse; and so on.
The entire advert was filmed in a huge empty warehouse, and all the mechanisms were custom-built, designed and tested to work as authentically as possible in front of the camera – except for the robotic arm handling the eyedropper, which was created in CG. Besides the main contraptions, directors Gabriel Nóbrega and Ricardo Carelli went to great lengths to ensure the lab looked as detailed as possible, with instruments, control panels, lights and specific visual identity elements for each track station.
The cinematography work was devised to provide the greatest variety of camera angles, shots and details, employing macro lenses, high-speed shooting and even a drone, in order to allow for a dynamic, exciting editing.