Emirates ⁠—

Kids will be kids.

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Department of Family Travel —

"It can be a looong flight when travelling with, in front, behind, next to, across the aisle or on the same plane as a kid. Thankfully this is a small bit less painful on Emirates. We enjoyed mixing mediums with our friends at Leo Burnett Sydney, creating a series of spots as well as print and digital assets that highlight some of these pain points.".

Early September, I got the opportunity to be involved in a series of three spots for Emirates. Being involved from day one, I got the change to leave my fingerprints on all facets of the projects.

All spots were shot in stop motion in-house which gave me a lot of insights into the world of crafting sets and thinking in terms of what's possible in the real world.

Flying can be rough —

Being involved from the beginning I got the opportunity to take ownership of animating one of the three spots, in my case "Kids Meals". A nice opportunity to animate some wild gravy. My involvement was around blocking out most of the shots' animation.


Animating the hand of the kid was a challenging one as it moves across the scene expressing the kid's frustration.
My main takeaways of the animation side of the project was to not over animate elements that aren't particular the most important in the shot. Being more efficient with time was definitely on one of my post-its during the project.

I got 99 props..

A big part of the project was the design for the sets across all three spots. Devided up in "plain" and "emirates" sets, we played around with the idea of "good" and "bad" which we also translated in the actual design for the windows, seats, etc.

While the plain props were dirty, small and overall inferior, I designed the Emirates props in a way the would feel more premium. Better arm rests, bigger windows, sunny outlook, more spacious, cleaner food trays and so on.

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There's a card for every type —

As each spot was portraying a situation with and without flying Emirates, I designed each title cards to feel integrated into the scene, both in terms of design and animation.

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Behind the scenes —

After delivering the prop designs to the set designer, the world we crafted that we only knew existed on computer screens, suddenly came to life in a very tactile manner which, for me, was a magical moment during the project.

While shooing, the importance having a blocked out animation in 3D propelled the project and sped up our workflow heaps. While the actual shooting of the shots was quite short, it was a very rewarding process to experience.