The Transformation of Animation Techniques in the Advertising Market

The Transformation of Animation Techniques in the Advertising Market

No ano do centenário da animação brasileira, fizemos uma reflexão sobre o potencial da animação atualmente e as inúmeras possibilidades que esse mercado pode oferecer. Confira!

As técnicas de Animação evoluíram ao ponto que hoje temos tantas opções para a composição de um vídeo que quase não há limites para a criação. Ao longo do tempo as técnicas foram evoluindo de “desenhos que se mexem” para a criação de mundos inteiros, indo muito além do que antes só podíamos imaginar.

Inicialmente, tratava-se simplesmente de entender como dar movimento aos personagens e quais técnicas poderíamos utilizar para esse fim. As animações eram feitas apenas para o cinema, com menos de 5 minutos, e os animadores exploravam os movimentos que davam vida aos personagens. Das novas ferramentas que surgiam, em 1914 o norte-americano Earl Hurd revoluciona o mercado: com o simples processo de desenhar por sobre as folhas transparentes de celulóide, os animadores eram poupados de ter de redesenhar várias vezes os mesmos cenários e personagens. Novos mundos começaram a ser criados e apresentados ao nosso mundo.

Depois de um tempo, notaram que essa técnica também permitia criar animação por cima das imagens filmadas em live-action, explorando ainda mais a fluidez dos movimentos, e surgiu “Alice Comedies”, uma série criada por ninguém menos que Walt Disney, que se destacava ao mesclar as filmagens de uma garotinha real com cartoons pintados por cima dos frames do video. Tão logo, a animação ganhava uma nova função. Ela passava a se misturar com as filmagens reais e interagia com a nossa realidade, transformando-a.

Dessa forma, Alice, do conto de Lewis Carrol, começava a ser eternizada na mente de das gerações desde então, ao passar por diferentes técnicas, desde o “Alice Comedies” ao clássico longa em 2D, e mais recentemente com a belíssima Wonderland retratada em 3D por Tim Burton, entre outras muitas adaptações que continuam a impulsionar ainda mais as vendas em licenciamento e product placement para a Disney e movimentam esse mercado.

E não foi só a Disney que notou o retorno financeiro causado pelo encantamento de seus personagens. Pouco a pouco as marcas foram aderindo animação para suas campanhas a fim de trazer valor e modernidade para seus produtos, virando tendência no meio publicitário. E com o dinheiro de um novo mercado, as técnicas puderam começar a se evoluir e inovar.

Vários estilos, softwares e ritmos foram surgindo e se popularizando. E mesmo com a evolução da Computação Gráfica (CGI), a arte clássica da animação como o desenho tradicional ou o Stop Motion continuaram a trazer um tom especial para os projetos. Em alguns casos, o CGI consegue simular essa técnica tão bem que quem assiste quase não consegue diferenciar qual das técnicas está sendo utilizada. Os movimentos da personagem podem ser feitos em um 3D pausados para transmitir a sensação de uma animação feita em Stop Motion, por exemplo, como é o caso do projeto Arno (abaixo).

E por falar em não saber qual técnica está sendo utilizada, o que dizer dos Efeitos Visuais (VFX), que criam mundos inteiros como o da trilogia de Senhor dos Aneis ou da série Game of Thrones e nos fazem perder a distinção do que é real, o que foi filmado, e o que foi criado por computador? A marca se fortalece ao ponto de não vender só DVDs; GoT chegou a ganhar até mesmo uma marca de vinhos, transformando o produto audiovisual (a série) em produto mercadológico (vinhos, camisetas, action figures, padaria temática…).

E só na publicidade falamos de 3 usos para a animação: o licenciamento de personagens famosos em produtos (Alice), campanhas que criam seus próprios mundos (Arno) e séries que passam um estilo de vida que promovem o consumo de produtos com mesmo lifestyle e se tornam novos produtos (GoT).

O melhor, além das evoluções dos CGI, é estarmos vivendo na era dos gadgets, que trazem novas plataformas para os conteúdos, como é o caso dos óculos de Realidade Virtual (VR) que, ao invés de trazer mais “animação” para o nosso mundo, são capazes de nos transportar para dentro do mundo digital, onde podemos caminhar completamente imersos pelo que a imaginação nos permitir criar. Ou mesmo a Realidade Aumentada (AR), que usa a tela do celular para mostrar uma realidade mista (real e animação), e tende a se popularizar cada vez mais nos próximos anos, pela praticidade e multiplicidade de funções que pode oferecer.

Mas a verdade é que, seja utilizando a técnica 2D, 3D, VR ou Stop Motion, ou mesmo desenhando à mão  frame a frame, precisamos aproveitar as diferentes técnicas para mesclá-las com criatividade e inovação para impactar cada vez mais as pessoas, criando experiências que transmitam a mensagem de forma marcante e eficaz. Encantar.

BRANDED CONTENT in Animation: Learn why this subject was so commented on Rio Content Market 2017

BRANDED CONTENT in Animation: Learn why this subject was so commented on Rio Content Market 2017

The producers Mono Studio and Singular Midia&Conteúdo talked about the creation and production of the animated series of Lilica’s World, by Marisol.

In March happened the Rio Content Market 2017 – the biggest event of audiovisual market in Brasil – and was highlighted in their talks the subject Branded Content, a very discussed theme between the producers of the market, that crowded the presentations. Mono Studio had the pleisure of share the Lilica’s Branded Content bodily with the brand Marisol and the content agency Singular, the project Ripilica’s World.

Branded Content is an advertising strategy in which the brands can transmit their value through the content, and has been very commented the last years because of his capacity of grab the audience’s attention, an audience that is part of a generation adverse to the kind of “intrusive” communication, that who interrupts the programmation.

With the infinite “zapping” of the remote control through the infinite options of channels for the audiences, the brands are feeling the need of adapting their communications to grab their attention, since the consumer’s behaviour changed and has increased the growing of plataforms as Video on Demand, online exhibitions services that inhibit almost completely the advertising among the videos – as Netflix, for example. Also a very commented topic at RCM, since SP Cine soon will launch his streaming service dedicated to national movies.

Another big case is the creation of YouTube Kids, for bring new incentives for content in the whole world. The app of the channel YouTube came to Brasil in June of last year and now will come to the Smart TVs, as discussed in the presentations. In USA, the app launched by a year ago exceeds 10 millions of downloads and promise to be a safe place with specific content for the children, and that is an alternative that came just in time, since children’s advertising has been very criticized in the last few years.

With the restrictions imposed to the brands about the advertising to this public, its very important for the brands the production of a content in different formats and placements. In case of creating your own channel, as YouTube Kids, the brand starts to speak more constantly and directly with their target, in a intense way, and that demands a deeper and delicate approach that brings a full contact with their fans.

The brand Marisol, for example, preserves and understand the responsibility of her influence to the children’s universe. For that, the coproduction MonoStudio and Singular create the Ripilica’s World, a project that demonstrates the subtlety of the conception of narratives and characters that transmit value and communicate the brand without imposition. This was fundamental between producers and the brand, here representate by Mario Paravisi ( Manager of Brand Experience), and the structure was realized by professionals specialized in children’s content. Beyond the team Beth Carmona, Bruno Bask, Eduardo Nakamura, Rui Okusako e Vanessa Fort, the projects count with Humberto Avelar, Helio Ziskind, Ultrassom and more. It was created characters and worlds that invites children to live a friendship with adventure, songs and learning.

“The project Lilica’s World is very emblematic for all of us. In it we have the opportunity to give voice, life and personality to a koala who existed for 25 years, inanimate. The team meshed very well. A fantasy universe was created with scenaries and characters for an animated serie that transcribes the girls’s adventures with their courage, poetry and sensibility to explore a world full of small challenges.” – Says Beth Carmona, Content Director of Singular. diz Beth Carmona, Diretora de Conteúdo da Singular.

“It become a wonderfull project in all senses. For the pleisure of working with professionals so competents, with content expertise for children, and the tuning with the brand team, that also deal with different situations with children for years. The emotion of the story in this world gives a special and respectful touch.”– says Bruno Bask, Animation Director of MonoStudio.– diz Bruno Bask, Diretor de Animação da MonoStudio.

In that way, the company’s communication becomes to 360º, since appears in all of the children’s universes. There are plans to Ripilica’s World dialogue in different medias and channels, off and online, and even in parks, being part of their plays and daily journals. Its not disclosure yet the strategy and divulging.

Soon we’ll bring more about the backstages of this production and you’ll know more about the Lilica’s adventures and all his friends. Lets Ripilicate!

Interactivity, new media and the expansion of advertising horizons.

Interactivity, new media and the expansion of advertising horizons.

Advertising is a dynamic segment that easily adapts to new technologies. The most recent trend is to use interactivity, along with new media and social networks. This experience between customer and brand approximates both of them, since the consumer actively participates on the campaign.

The brand Hellmann’s, along with the agency Cubocc and the producer The Kumite, bet on interactivity on its campaign at the event Rock In Rio. Internet users were invited to tweet comments about the event using the hashtag #RockInHelmanns. Some selected tweets were answered by no other than Tiago and Tomás, giant animated tomatoes that were displayed on the jumbo screen at Rock In Rio.

How was Hellmann’s able to put a tomato on the jumbo screen at Rock In Rio answering tweets virtually in real time? The answer came thanks to a lot of study, the use of high technology and the creativity of the actor and comedian Marco Gonçalves.
Mono Studio, responsible for the project’s interactivity, created a capture system, mixing animations that were used as presets for movements that Tiago and Tomás – the tomatoes – would make on the scene, such as waving or head banging. Each gesture was assigned to shortcut keys on the PC keyboard. At action time, the creative team from the ad agency read, selected the tweets and, along with Marco Gonçalves, thought about hilarious answers to the internet users.
Once the script was ready, it was recording time. Mono added to the project the team from DOT, which did real-time capturing via mark-less sensors (with no marking point, via faceware software). Meanwhile, the Mono team assigned gestures to everything the tomatoes said. Then, the material was sent to the event site for projecting on the screen! The result? Couldn’t have been more gratifying.

On the campaign for the new Ford Focus, Ford, along with the agencies Cricket Brasil and Blue Hive and with Google, bet on using interaction for the launch of the model’s new website. At visiting the page, the user faces two scenarios: Monaco and Atlantic, where he can drive his Ford at a race on both tracks.
To make this project come to life, Mono worked on the visual development and construction of 3D elements. The material was sent for programming at the software developed in Javascript and posted on the website. This way, the client can experience driving the new Ford Focus without leaving home, on the tracks car lovers covet the most.

Ford Focus FastBack experience –Atlantic Track

Ford Focus FastBack experience –Monaco Track