We have recently been working with American Ad agency VML based in Kansas for ice tea brand Brisk.
Being a UK animation studio doesn’t mean we just work with London companies. The US team got in touch with an open brief, giving our team a blank canvas to pitch a couple of ideas for the beverage. Brisk drinks are an iced tea brand aimed at young audiences, because as they say ‘Brisk is not your Grandma’s iced tea’!
Being the tea lovers we are; iced or otherwise, we knew we could hit the mark for our friends across the pond. We devised and created two different films for Brisk – both using stop-motion and replacement elements.
The first concept Double Dribble takes the same animation technique of replacements, however, is a style we call ‘cascade’ animation. The illusion of a basketball player dribbling a ball and eventually dunking it into a bottle of Brisk was created by many different separate plastic pieces put one in front of another, cascading to form the animation.
These plastic cut-outs were created in a number of stages. Firstly we worked with a basketball player and filmed him dribbling along a court and making a slam dunk. Our animation team then rotoscoped the footage, taking his outline for each frame and creating over 300 separate shapes. These shapes were then each laser-cut, and individually placed one after the other during production.
The second, titled City Beats was produced using paper-craft. The animation features a cityscape of buildings designed by our model team, which rise and fall to music like bars on an equalizer. Each level and size of building is a separate hand-crafted model, which were swapped and changed by our animator in every frame to create the illusion of movement.
A+C Studios lead animator James Harvey said,
“The Brisk animations were really interesting to work on, particularly ‘Double Dribble’. Normally when you shoot an animation, the performance is crafted on set. However with Double Dribble we essentially did this beforehand by shooting the basketball player and using their outline. We actually shot the animation backwards – the scene was set with all the plastic frame pieces painstakingly put in place before I gradually took them away one by one. We then reversed the shot in post production. It’s always a lot of fun to have the challenge of doing something that breaks the norm.”