Hummingbird
- Studio
- Knucklehead
- Animation studio
- The Mill
Characters
Mechanical Hummingbird
Credits
Directing
- Director
- Daniel Barber
Producing
- Producer
- Ruben Mercadal
- Executive Producer
- Matthew Brown
Animation
- Animator
- Jorge Montiel (Lead Animator)
Art Department
- Art Department
- Jimmy Kiddell, Can Y. Sanalan, Carlos Nieto, Mel Climent, Jiyoung Lee
Visual Effects
- Post-Production/VFX Company
- The Mill
- VFX Producer
- Rahel Makonnen
Editing
- Editor
- Adam Marshall
- Editing Company
- The Whitehouse
Crew
- Creative Directors
- Nick Kidney, Kevin Stark
- Creatives
- Paul Yull, Adi Birkinshaw
- Shoot Supervisor
- Hitesh Patel
- 2D Lead Artist
- Hugo Guerra
- 3D Lead Artists
- Tom Bussell, Jorge Montiel
- 2D Artists
- Jerome Lionard, Ben Smith, Emma White, Ben Turner, Neil Davies, Cameron Smither, Juan Brockhaus
- 3D Artists
- Tom Bussell, Alex Hammond, Amaan Akram, Adrian Russell, Adam Droy, Jose Maria Andres Martin, Gemma Aliaga, Tommy Anderson, Stuart Turnbull, Carlos Fraiha, Ciaran Moloney, Sergio Xisto, Graeme Turnbull, Melanie Tonkin, Jorge Bellott, Francois Roisin, Nicolas Guiraud, David Hempstead, Mattias Bjurstroem, Adam Darrah
- Assist
- Scott Dawkins
- Colorist
- Aubrey Woodiwiss, Mick Vincent
Companies and other credits
- Agency: BBH
Production notes
TV commercial for the Audi A6 Avant.
The Mill's latest collaboration with BBH required teams from across The Mill to come together to create director Daniel Barber's vision of an elegant mechanical bird living in a magical surrealist world.
The on-air campaign broke on during ITV1's coverage of the Rugby World Cup and included both 60- and 30-second versions.
From the very beginning of the project, The Mill helped develop the concept, working closely with Oscar-nominated director Daniel Barber and the BBH creative team of Nick Kidney, Kevin Stark, Paul Yull and Adi Birkinshaw. Its aim was to imagine what a bird designed by Audi would look like and to reflect the car's ultra-lightweight technology. Once its art and design teams had brought the bird to life, the challenge faced by its 3D team was to animate the bird made from mechanical and car parts.
The director was keen that the bird's movement should be playful, elegant and agile- and sometimes a bit cheeky- echoing the Audi A6 Avant's lightweight construction. Once this was achieved, The Mill then set about creating the surrealist world for the Audi bird to fly through. This required strong real elements, such as sun and light, so the overall effect would appear unique as well as believable.
Due to the sheer scale of this fully CG commercial project, The Mill turned to its Nuke compositing team as the Nuke workflow lent itself perfectly to this spot. Not only did it allow the studio to composite its CG renders quickly and realistically, but it also enabled it to mobilize a large team to plan and map each version of the commercial and individual shots in detail.
VFX producer Rahel Makonnen added, "It was a huge, creatively challenging and delightful project to be a part of, requiring the talents of many teams from around The Mill. We are so pleased to have helped bring the spot to life in all of its magical glory."
The Mill's latest collaboration with BBH required teams from across The Mill to come together to create director Daniel Barber's vision of an elegant mechanical bird living in a magical surrealist world.
The on-air campaign broke on during ITV1's coverage of the Rugby World Cup and included both 60- and 30-second versions.
From the very beginning of the project, The Mill helped develop the concept, working closely with Oscar-nominated director Daniel Barber and the BBH creative team of Nick Kidney, Kevin Stark, Paul Yull and Adi Birkinshaw. Its aim was to imagine what a bird designed by Audi would look like and to reflect the car's ultra-lightweight technology. Once its art and design teams had brought the bird to life, the challenge faced by its 3D team was to animate the bird made from mechanical and car parts.
The director was keen that the bird's movement should be playful, elegant and agile- and sometimes a bit cheeky- echoing the Audi A6 Avant's lightweight construction. Once this was achieved, The Mill then set about creating the surrealist world for the Audi bird to fly through. This required strong real elements, such as sun and light, so the overall effect would appear unique as well as believable.
Due to the sheer scale of this fully CG commercial project, The Mill turned to its Nuke compositing team as the Nuke workflow lent itself perfectly to this spot. Not only did it allow the studio to composite its CG renders quickly and realistically, but it also enabled it to mobilize a large team to plan and map each version of the commercial and individual shots in detail.
VFX producer Rahel Makonnen added, "It was a huge, creatively challenging and delightful project to be a part of, requiring the talents of many teams from around The Mill. We are so pleased to have helped bring the spot to life in all of its magical glory."
Awards
Nominee, Annie Award, Best Animated Television Commercial, 2012