Emirates ⁠—

Kids will be kids.

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Department of Family Travel —

Stop motion piece done in house at Buck Sydney.

Early September 2018, I got the opportunity to be involved in a series of three animated spots for Emirates. Being hands-on from day one, my fingerprints were all across the project.

As all spots were shot in stop motion, it gave me a front row ticket into the world of set building and thinking in physical terms.

Flying can be rough —

Being involved from the beginning I got the opportunity to take ownership of lead animating one of the three spots which, in my case, was "Kids Meals", blocking out the character animation. A nice opportunity to animate some wild gravy across the screen.

The main challenge of the project for me was to be very efficient with time. Not only for deadline sake, but also for guiding the viewers' attention watching the spot. Focussing on blocking out extreme poses and shifting those ones provided me with a better foundation to build upon.

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I got 99 props..

A big part of the project was designing the props and sets across all three spots. Divided up in "plain" and "emirates" sets, we played around with the idea of "good" and "bad". The good seats were painted Emirates red, while the bad seats were all worn down and smudged.

This good/bad theme continued in the design for the food trays and windows in the plans as well. Whereas the plain seats lookout on stormy clouds, the Emirates seats enjoyed a beautiful sunny sky.

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There's a card for every type —

To link all of the shots together, we introduced pancartes educating the viewer why they should go for Emirates

Grabbing elements from the previous scene, I gave me the building blocks to make the design for the title cards more integrated into the shot.

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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.