Silver
Production & Post-Production
2D Animation
| Entrant: | Mathematic, Paris |
| Brand: | Rollin' Car Insurance |
| Title: | "Smooth" |
| Corporate Name of Client: | Division |
| Client Company: | Bear Meets Eagle |
| Client President: | Micah Walker |
| Client Creative Directors: | Leslie Sharpe/Toby Hussey/Emma Wright |
| Production Company: | Division |
| Director: | Mrzyck & Moriceau |
| Executive Producer: | Genevieve Triquet |
| Producer: | Sarah Nic |
| Post-Production Company: | Mathematic, Paris |
| Executive Post-Producer: | Rebecca Rice |
| Post-Producer: | Claire English |
| VFX Company: | Mathematic, Paris |
| VFX Supervisor: | Mathieu Bétard |
| 2D Artists: | Jeanne Dalmas/Bishoy Shendi/Axel Martin/Pierre Tutz Pierre Tutz/Naelle Gaveriaux/Charlotte Baker/Mathieu Bétard |
| Animators: | Jeanne Dalmas/Bishoy Shendi/Axel Martin/Pierre Tutz Pierre Tutz/Naelle Gaveriaux/Charlotte Baker/Mathieu Bétard |
| Music Production Company: | Rumble Studios |
| Music Executive Producer: | Michael Gie |
| Music Arrangers: | Dan William/Cam Milne |
| Music Composer: | Tone Aston |
Description:
Brief & Solution The intent was to create original animations that reflect Rollin’s tagline, ’smooth’, by keeping things fluid, but never jarring while going on a kind of eccentric, surreal joyride.
We wanted each shot to be unique and were mindful of showing a wide range of settings in a fast-paced edit without losing the character, and use 2D animation techniques to best emphasize the character and backgrounds.
Working from the directors' rich and humorous illustrations, we shaped the storyboard into a continuous flow of movement across the shots, being careful to balance moments of quiet with quick successions of morphs for maximum comedic effect.
The character designs were refined along the way to fit that idea, and we used a wide spectrum ranging from very complex to very simple animation, to bring variety in movement.
Approach The entire film is made using traditional animation. This hand drawn approach allows for fluid warping animations, fitting both the exuberant designs and the intended feeling of smoothness throughout the film.
It also has an organic quirkiness complementing their somewhat retro aesthetic, which was further enhanced in compositing.
We paid attention to even the smallest of details, in how each aspect moved within the frame, to keep the animation stylized but not lean too far into cartoon. The animation team worked closely with the directors, which was crucial in achieving such a singular, cohesive result.