Animation

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At Revenant we wanted to ensure that the animation was a seamless fusion of narrative and visuals to deliver a captivating and impactful campaign that aligned with Oakley's vision and resonated with their audience.\n\nOakley has consistently positioned itself as a brand with an eye on the future while delivering groundbreaking products in the present. Reflecting on the iconic Max Fearlight advertisement from '92, Oakley acknowledges that the journey initiated by Brian Takumi (VP, Product Creative Catalyst at Oakley) and Caio Amato (Chief Marketing Sports Hub at EssilorLuxottica) laid the foundation for their forward-thinking ethos.\n\nWithin the organization, the concept of Oakley is deeply rooted in brutalism, embodying a brand that embraces cutting-edge innovation. However, if you were to inquire about Oakley's essence from different team members, each would offer a unique interpretation. Recognizing this diversity of perspectives, Oakley embarked on a creative journey, envisioning the brand as a trilogy of movies.\n\nThe first instalment of this cinematic metaphor represents the technical prowess that defines Oakley. The second chapter explores the era marked by the revolutionary X-Metal and the explosive elements showcased in the Max Fearlight commercial. However, Oakley's visionary team found themselves pondering the question: What would be the narrative arc of the third movie?\n\nThis introspection led to the birth of 'Future Genesis.' The idea was to unify the diverse interpretations of Oakley within the organization and create a cohesive context for the brand's evolution. By envisioning Oakley as a trilogy, the team sought to align everyone within the company with a shared vision \u2013 a collective dream. This perspective would serve as the foundation for product development, guide marketing strategies, and unify the entire team, fostering a shared direction.\n\nMax Fearlight, a pivotal figure in this journey, embodies the abrupt yet closely connected evolution of Oakley's DNA. The 'Future Genesis' concept is not just a campaign, but an entire universe built around this transformative odyssey. Oakley, through this visionary approach, aspires to create a cohesive narrative that resonates with its team members and customers alike, propelling the brand into an exciting and coherent future.\n\n\n\nCreating the teasers: \u2018Max\u2019 & \u2018Maxine\u2019.\n\nAfter many initial thoughts, the idea was simple. To create two bespoke teaser trailers that would play out at the same time but from two very different perspectives. One from Max (the Father), inside the digital world he created called the \u2018Echoverse\u2019, and the second, from Maxine (the Daughter), who in a postapocalyptic world is caught unaware by an approaching super storm.\n\nWhen it came to character animation, our strategy involved a hybrid approach, seamlessly integrating the strengths of performance capture for facial animation with the precision of keyframe animation for the body. This mixed method approach allowed us to leverage the nuanced expressiveness captured in facial performances while retaining the creative control necessary for the intricacies of body movement.\n\nThe synergy between these two techniques presented a considerable challenge, as it required a delicate balance to ensure that the face and body animations seamlessly synchronized. By allowing the intricate details captured in facial expressions to inform and influence the keyframes of body movements, we achieved a level of cohesiveness in the performance that elevated the overall animation quality. This fusion ensured that every element of the animation complemented and enhanced the other, resulting in a character animation that was not only visually striking but also emotionally engaging.\n\nWith UI design in mind, our initial hurdle involved creating a user interface seamlessly integrated into the spatial context. The primary objective was to develop an interface that felt instinctive, steering clear of an overly button-laden or conventional aesthetic. Our intention was to create something organic, with a sense of natural flow, while still incorporating mechanical elements. The result embodied a slightly grungy and aged appearance that naturally blended into the environment. This design approach aimed to evoke a sense of second nature for the main character, Max, ensuring that the UI not only served its functional purpose but also became an integral and visually succinct part of the overall narrative.\n\nAs the production progressed, we confronted various challenges, a direct result of our commitment to achieving a high-calibre execution. However, the advantage of operating as a relatively small and nimble team became apparent as it provided us the flexibility to swiftly pivot away from outdated concepts and readily embrace fresh ideas within a matter of hours. This agility proved invaluable in contrast to adhering to a more rigid pipeline that could potentially prolong the decision-making process for days or even weeks. The streamlined communication and decision-making within our team allowed for a dynamic and efficient workflow, facilitating quick adjustments, and ensuring that the project evolved seamlessly in response to evolving creative needs and client preferences.\n\nThe main tools we used for the project included: Houdini, Axiom, Maya, Nuke, Redshift, Arnold, and Adobe CS.\n\n\nReduced version:\n\nCreating Oakley's latest CG animated promotional campaign, 'Future Genesis,' involved a strategic approach rooted in understanding their brand identity and target audience. This informed the creation of storyboards, scripting, and an original design at Revenant, aiming for a seamless mix of narrative and visuals. Oakley's \u201cMax Fearlight\u201d \u201992 brand campaign, inspired the introspective birth of 'Future Genesis' to unify diverse perspectives within the organisation. The teasers, 'Max' and 'Maxine,' take a unique approach, offering simultaneous yet distinct viewpoints. The character animation strategy involved a hybrid approach, combining performance capture and keyframe animation, enhancing visuals that are also emotionally engaging. Overcoming challenges in UI design and production, the team's nimble approach and streamlined communication ensured a high-calibre execution. 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This informed the creation of storyboards and scripting, paving the way for an original design and authentic concept. At Revenant we wanted to ensure that the animation was a seamless fusion of narrative and visuals to deliver a captivating and impactful campaign that aligned with Oakley's vision and resonated with their audience.\n\nOakley has consistently positioned itself as a brand with an eye on the future while delivering groundbreaking products in the present. Reflecting on the iconic Max Fearlight advertisement from '92, Oakley acknowledges that the journey initiated by Brian Takumi (VP, Product Creative Catalyst at Oakley) and Caio Amato (Chief Marketing Sports Hub at EssilorLuxottica) laid the foundation for their forward-thinking ethos.\n\nWithin the organization, the concept of Oakley is deeply rooted in brutalism, embodying a brand that embraces cutting-edge innovation. However, if you were to inquire about Oakley's essence from different team members, each would offer a unique interpretation. Recognizing this diversity of perspectives, Oakley embarked on a creative journey, envisioning the brand as a trilogy of movies.\n\nThe first instalment of this cinematic metaphor represents the technical prowess that defines Oakley. The second chapter explores the era marked by the revolutionary X-Metal and the explosive elements showcased in the Max Fearlight commercial. However, Oakley's visionary team found themselves pondering the question: What would be the narrative arc of the third movie?\n\nThis introspection led to the birth of 'Future Genesis.' The idea was to unify the diverse interpretations of Oakley within the organization and create a cohesive context for the brand's evolution. By envisioning Oakley as a trilogy, the team sought to align everyone within the company with a shared vision \u2013 a collective dream. This perspective would serve as the foundation for product development, guide marketing strategies, and unify the entire team, fostering a shared direction.\n\nMax Fearlight, a pivotal figure in this journey, embodies the abrupt yet closely connected evolution of Oakley's DNA. The 'Future Genesis' concept is not just a campaign, but an entire universe built around this transformative odyssey. Oakley, through this visionary approach, aspires to create a cohesive narrative that resonates with its team members and customers alike, propelling the brand into an exciting and coherent future.\n\n\n\nCreating the teasers: \u2018Max\u2019 & \u2018Maxine\u2019.\n\nAfter many initial thoughts, the idea was simple. To create two bespoke teaser trailers that would play out at the same time but from two very different perspectives. One from Max (the Father), inside the digital world he created called the \u2018Echoverse\u2019, and the second, from Maxine (the Daughter), who in a postapocalyptic world is caught unaware by an approaching super storm.\n\nWhen it came to character animation, our strategy involved a hybrid approach, seamlessly integrating the strengths of performance capture for facial animation with the precision of keyframe animation for the body. This mixed method approach allowed us to leverage the nuanced expressiveness captured in facial performances while retaining the creative control necessary for the intricacies of body movement.\n\nThe synergy between these two techniques presented a considerable challenge, as it required a delicate balance to ensure that the face and body animations seamlessly synchronized. By allowing the intricate details captured in facial expressions to inform and influence the keyframes of body movements, we achieved a level of cohesiveness in the performance that elevated the overall animation quality. This fusion ensured that every element of the animation complemented and enhanced the other, resulting in a character animation that was not only visually striking but also emotionally engaging.\n\nWith UI design in mind, our initial hurdle involved creating a user interface seamlessly integrated into the spatial context. The primary objective was to develop an interface that felt instinctive, steering clear of an overly button-laden or conventional aesthetic. Our intention was to create something organic, with a sense of natural flow, while still incorporating mechanical elements. The result embodied a slightly grungy and aged appearance that naturally blended into the environment. This design approach aimed to evoke a sense of second nature for the main character, Max, ensuring that the UI not only served its functional purpose but also became an integral and visually succinct part of the overall narrative.\n\nAs the production progressed, we confronted various challenges, a direct result of our commitment to achieving a high-calibre execution. However, the advantage of operating as a relatively small and nimble team became apparent as it provided us the flexibility to swiftly pivot away from outdated concepts and readily embrace fresh ideas within a matter of hours. This agility proved invaluable in contrast to adhering to a more rigid pipeline that could potentially prolong the decision-making process for days or even weeks. The streamlined communication and decision-making within our team allowed for a dynamic and efficient workflow, facilitating quick adjustments, and ensuring that the project evolved seamlessly in response to evolving creative needs and client preferences.\n\nThe main tools we used for the project included: Houdini, Axiom, Maya, Nuke, Redshift, Arnold, and Adobe CS.\n\n\nReduced version:\n\nCreating Oakley's latest CG animated promotional campaign, 'Future Genesis,' involved a strategic approach rooted in understanding their brand identity and target audience. This informed the creation of storyboards, scripting, and an original design at Revenant, aiming for a seamless mix of narrative and visuals. Oakley's \u201cMax Fearlight\u201d \u201992 brand campaign, inspired the introspective birth of 'Future Genesis' to unify diverse perspectives within the organisation. The teasers, 'Max' and 'Maxine,' take a unique approach, offering simultaneous yet distinct viewpoints. The character animation strategy involved a hybrid approach, combining performance capture and keyframe animation, enhancing visuals that are also emotionally engaging. Overcoming challenges in UI design and production, the team's nimble approach and streamlined communication ensured a high-calibre execution. The main tools used included Houdini, Axiom, Maya, Nuke, Redshift, Arnold, and Adobe CS.\n","artists_ids":[2062],"artists_names":["Alex Rych"],"publication_date":"1980-01-01T00:00:00+00:00","client":{"id":1369,"name":"Oakley"},"agency":null,"categories":{"106":{"id":106,"name":"Shortlist - Animation (3D)"}},"content_types":[{"id":23,"name":"2024 EMEA"}],"type":"clip","urlname":"future-genesis","download_allowed":false,"assigned_extended_attributes":{"version":[],"production_company":[{"id":20731,"value":"Kamp Grizzly"}],"post_house":[],"sound_design_company":[],"sound_designer":[],"commissioner":[],"record_company":[],"editing_company":[],"editor":[{"id":20733,"value":"Marco Di Dioia"},{"id":20733,"value":"Marco Di Dioia"}],"music_licensing":[],"composer":[],"music_supervisor":[],"music_company":[],"animator":[],"production_service":[],"vfx":[],"region":[],"year":2023,"related_article":null,"product":[{"id":825,"value":"Oakley"}],"duration":"01:07","aspect_ratio":"2.55\/1","er_extended_credits":{"SpotId":"fc0041a9-ed3f-45b2-9118-d5ad4ea6e469","SpotTitle":"Future Genesis","SpotDescription":"When crafting Oakley's latest CG animated promotional campaign \u2018Future Genesis\u2019, it involved a strategic approach, starting with a clear understanding of their brand identity and target audience. This informed the creation of storyboards and scripting, paving the way for an original design and authentic concept. At Revenant we wanted to ensure that the animation was a seamless fusion of narrative and visuals to deliver a captivating and impactful campaign that aligned with Oakley's vision and resonated with their audience.\n\nOakley has consistently positioned itself as a brand with an eye on the future while delivering groundbreaking products in the present. Reflecting on the iconic Max Fearlight advertisement from '92, Oakley acknowledges that the journey initiated by Brian Takumi (VP, Product Creative Catalyst at Oakley) and Caio Amato (Chief Marketing Sports Hub at EssilorLuxottica) laid the foundation for their forward-thinking ethos.\n\nWithin the organization, the concept of Oakley is deeply rooted in brutalism, embodying a brand that embraces cutting-edge innovation. However, if you were to inquire about Oakley's essence from different team members, each would offer a unique interpretation. Recognizing this diversity of perspectives, Oakley embarked on a creative journey, envisioning the brand as a trilogy of movies.\n\nThe first instalment of this cinematic metaphor represents the technical prowess that defines Oakley. The second chapter explores the era marked by the revolutionary X-Metal and the explosive elements showcased in the Max Fearlight commercial. However, Oakley's visionary team found themselves pondering the question: What would be the narrative arc of the third movie?\n\nThis introspection led to the birth of 'Future Genesis.' The idea was to unify the diverse interpretations of Oakley within the organization and create a cohesive context for the brand's evolution. By envisioning Oakley as a trilogy, the team sought to align everyone within the company with a shared vision \u2013 a collective dream. This perspective would serve as the foundation for product development, guide marketing strategies, and unify the entire team, fostering a shared direction.\n\nMax Fearlight, a pivotal figure in this journey, embodies the abrupt yet closely connected evolution of Oakley's DNA. The 'Future Genesis' concept is not just a campaign, but an entire universe built around this transformative odyssey. Oakley, through this visionary approach, aspires to create a cohesive narrative that resonates with its team members and customers alike, propelling the brand into an exciting and coherent future.\n\n\n\nCreating the teasers: \u2018Max\u2019 & \u2018Maxine\u2019.\n\nAfter many initial thoughts, the idea was simple. To create two bespoke teaser trailers that would play out at the same time but from two very different perspectives. One from Max (the Father), inside the digital world he created called the \u2018Echoverse\u2019, and the second, from Maxine (the Daughter), who in a postapocalyptic world is caught unaware by an approaching super storm.\n\nWhen it came to character animation, our strategy involved a hybrid approach, seamlessly integrating the strengths of performance capture for facial animation with the precision of keyframe animation for the body. This mixed method approach allowed us to leverage the nuanced expressiveness captured in facial performances while retaining the creative control necessary for the intricacies of body movement.\n\nThe synergy between these two techniques presented a considerable challenge, as it required a delicate balance to ensure that the face and body animations seamlessly synchronized. By allowing the intricate details captured in facial expressions to inform and influence the keyframes of body movements, we achieved a level of cohesiveness in the performance that elevated the overall animation quality. This fusion ensured that every element of the animation complemented and enhanced the other, resulting in a character animation that was not only visually striking but also emotionally engaging.\n\nWith UI design in mind, our initial hurdle involved creating a user interface seamlessly integrated into the spatial context. The primary objective was to develop an interface that felt instinctive, steering clear of an overly button-laden or conventional aesthetic. Our intention was to create something organic, with a sense of natural flow, while still incorporating mechanical elements. The result embodied a slightly grungy and aged appearance that naturally blended into the environment. This design approach aimed to evoke a sense of second nature for the main character, Max, ensuring that the UI not only served its functional purpose but also became an integral and visually succinct part of the overall narrative.\n\nAs the production progressed, we confronted various challenges, a direct result of our commitment to achieving a high-calibre execution. However, the advantage of operating as a relatively small and nimble team became apparent as it provided us the flexibility to swiftly pivot away from outdated concepts and readily embrace fresh ideas within a matter of hours. This agility proved invaluable in contrast to adhering to a more rigid pipeline that could potentially prolong the decision-making process for days or even weeks. The streamlined communication and decision-making within our team allowed for a dynamic and efficient workflow, facilitating quick adjustments, and ensuring that the project evolved seamlessly in response to evolving creative needs and client preferences.\n\nThe main tools we used for the project included: Houdini, Axiom, Maya, Nuke, Redshift, Arnold, and Adobe CS.\n\n\nReduced version:\n\nCreating Oakley's latest CG animated promotional campaign, 'Future Genesis,' involved a strategic approach rooted in understanding their brand identity and target audience. This informed the creation of storyboards, scripting, and an original design at Revenant, aiming for a seamless mix of narrative and visuals. Oakley's \u201cMax Fearlight\u201d \u201992 brand campaign, inspired the introspective birth of 'Future Genesis' to unify diverse perspectives within the organisation. The teasers, 'Max' and 'Maxine,' take a unique approach, offering simultaneous yet distinct viewpoints. 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