The Grumpfs are back! Eight years after they appeared in the now classic “Happy City” spot, the animated film that introduced McDonald’s mascot Happy to the world, we now meet the fuzzy grumblers on a visit to a fantastic museum of natural history in this new Happy Meal commercial, brought to you by the great creative team of TBWA and Lobo.
Full of colossal fossils and outlandish creatures, the wonders of the place are not sufficient to prevent papa Grumpf from reverting to his old dark, gloomy self and scolding his child for expressing too much enthusiasm around the exhibits.
Fortunately the Happies are also there, and their wild, crazy antics once again infect everyone with joy and excitement, bringing color back to the Grumpfs’ lives. Those big-grinned, red pranksters are old friends of ours by now, as Lobo enters its sixth year of continuous production of the global Happy Meal campaigns.
Scheduled to launch during back-to-school season, the spot aimed at getting kids pumped up for the quest for knowledge, encouraging them to visit their local museums and other educational institutions. Inspired by the famous Muséum National d’Histoire Naturelle in Paris, our museum was designed not only to serve as a setting for the ad but also to provide a fully immersive VR experience, complete with 360º binaural sound that really drives home the effect of being in a huge place with things happening in all directions, even on the ceiling.
DPZ&T invited Lobo director Guilherme Marcondes to create a fresh and enticing VR experience for Brazilian NGO SOS Mata Atlântica. This film is an immersive experience where the spectator is in a car, stuck in traffic in the middle of a rainy concrete jungle without any chance of moving. Once Emicida’s song “Minha Casa” starts playing on the radio, time suddenly stops and we go on a journey through time, still stuck in that same place but at different moments in time. Then the magic begins as the car explodes into pieces and we fly off on a huge bird as a real jungle starts taking over the city.
Made entirely in 3D, in a short time frame of 2 months, our artists allowed the species of animals, trees and plants from the Atlantic Rainforest to fully express their own richness, urging the spectator to spring to action from the oblivion of their car seats, stuck in the middle of our concrete jungle, unaware that this natural life might not be around in a few years.
This film is the result of a partnership that united two extreme opposite parts of the globe: Brazil and Japan. Agency Dentsu created a campaign to launch Coca-Cola’s new Japanese “smart vending machines”, which connect with a smart device and a dedicated app called Coke ON. By turning on the app and placing the phone near the machine’s price display while making a purchase, the user receives a “stamp”. After collecting 15 stamps he or she can claim a free drink, which can be selected directly from the phone while standing in front of the vendor.
Japanese director Genki Ito took care of the live action part of the spot, while Lobo contributed animated graphics done in a bright, colorful 2D hand-drawn style, explaining the mechanics of the promotion and creating a wonderful, optimistic world for the human characters to inhabit.
During the 2016 Rio Olympics Beats by Dre set up the Unity House spa as a retreat for athletes to relax between competitions. To promote the new Unity line of headphones Beats photographer James stayed at the house, taking pictures of athletes wearing the new phones over a white background.
We were commissioned to create a unique souvenir for each athlete, customising the picture’s background and sending it back to them in 20 minutes.
Besides taking care of the design and image treatment, we also developed a dedicated system for maximum process automation, increasing efficiency and reducing the likelihood of human error.
We started by designing three types of background: a rainforest-themed one, another inspired by Rio’s natural landscape and a third based on the national flags of more than 80 countries. Next, we developed a system for collecting the athletes’ information, sending the original picture to the treatment station and e-mailing back the final image. Before getting their pictures taken, the athletes filled their names and e-mail addresses into an iPad and chose their own backgrounds.
At the treatment station we had 10 Photoshop wizards cutting out the pictures and applying the chosen backgrounds, working at the same time as the photos were being taken in Rio. When image processing was done our system sent a personalised e-mail to the athlete, notifying that the picture was ready to be downloaded or shared on social media. We also set up a system-connected display at the entrance of the studio, showing who had already participated in the campaign and how their pictures turned out to be.
In just one week we developed a unique tool that automated most of the work. We generated more than 800 pictures, working between 10AM and 5PM simultaneously with the Unity House. Many of the athletes spontaneously posted their pictures on their social media profiles.
What happens when a big corporation realizes the environmental effects of its own practices?
If that company is Interface, the answer is simple: A BIG change.
22squared and Lobo partnered to create a short film with a bold premisse: Let’s be honest about who our client was to highlight the power of the change for a good cause. Two decades ago Interface, a leading carpet tile design and fabrication company, started to change its polluting manufacturing practices. In 2006 they announced their goal to become a zero impact operation by 2020. Despite having won awards and recognition from several specialized institutions, Interface’s history haven’t been told to the large public, until now.
Our mission was to dramatize what otherwise would be a long list of achievements in manufacturing technology. What is really important for the world at large is the human message behind it all: We are able to change for good when we recognize our past mistakes and make a true effort of transformation.
The company is materialized as the film’s main character: A towering monster oblivious of his own impact as his view of the world below is blocked a thick blanket of polluted clouds of its own creation. Meanwhile, a little girl living in the polluted land below dreams of seeing blues skies for once in her life. The only way for her to get above the clouds is to climb the monster itself, “Jack and The Beanstalk style. That impulsive plan leads both characters to an expected encounter that will spark Interface’s sense of awareness.
From 22square’s original idea of the “monster who didn’t know it was a monster”, Lobo developed the script and created the visual style, taking inspiration from Japanese animated films to mid-century modern design and illustration.