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    艺术

    案例简介:MPC 与梅赛德斯一起参观 看看 MPC 两个新梅赛德斯-奔驰景点的漂亮视觉特效,很明显,这个工作室喜欢时尚。MPC 与匿名内容总监 Frederic Planchon 和 Merkley + 合作伙伴 GCDs David Fox 和 Scott Zacaroli 合作,致力于推广 e级和 SL 级车辆。 专利是一种集成的 CG 奇观,其特点是专利的彗星状尾巴聚集在一辆 e级轿车后面,它席卷城市、乡村,扭曲的海滨和山区道路, 向在新豪华机器上工作的 80,000 多项梅赛德斯-奔驰专利致敬。 为了确保在短时间内交付大量拍摄,MPC 进行了广泛的拍摄前研发,与 Planchon 和机构创意人员密切合作。CG 团队开发了一系列策略,包括粒子动画和大量单独的动画文件,以实现创造性的愿景,随着镜头数量的增加和时间线的缩短,这些工作获得了回报。 “我们总是努力提供高质量的结果,而不管在项目过程中遇到什么挑战,” MPC LA MD 安德鲁 · 贝尔指出。“凭借专利,我们的团队在短短九天内完成了一流的工作,并及时参加了奥斯卡,这是今年最大的电视活动之一。" 艺术是一个通过 SL 级的历史之旅,展示了该模型的多次迭代,背景是从 1940 到现在洛杉矶的不断变化。MPC 扫描了 Planchon 的镜头,移除或替换了标牌和建筑,以确保一切都是时代特有的,然后添加了微妙的细节,包括 1960 时代的汽车旅馆和人群复制以及赛道的结构特征。MPC 伦敦调色师 Jean-Clement Soret,他与 Planchon 的关系可以追溯到十多年前,拍摄了导演的红色史诗镜头,并以电影风格沐浴在其中,唤起了这些过去的时代。 贝尔指出: “匿名者在洛杉矶周围的位置做了出色的准备工作,以捕捉每个时代的建筑、汽车、服装和人物。”。“他们的精心工作使我们的帖子和清理过程变得更加容易,尤其是在电视上, 作为设置电影和特定时期的等级,几十年来的每一个都是创造现场感觉的关键。"

    艺术

    案例简介:MPC TAKES A TOUR WITH MERCEDES Take a look at MPC's beautiful VFX for two new Mercedes-Benz spots and it's clear that this studio likes to ride in style. MPC teamed up with Anonymous Content Director Frederic Planchon and Merkley + Partners GCDs David Fox and Scott Zacaroli on the efforts, which promote the E-Class and SL-Class vehicles. Patents is an integrated CG spectacle featuring a comet-like tail of patents swarming behind an E-Class sedan as it storms through city, country and twisting seaside and mountain roads, paying homage to the more than 80,000 Mercedes-Benz patents at work in the new luxury machine. In order to ensure delivery of a large number of shots in a short turnaround, MPC did extensive pre-shoot R&D, working closely with Planchon and the agency creatives. The CG team developed a mix of strategies involving particle animation and a good deal of individually animated papers to deliver the creative vision, work that paid off as the number of shots increased and the timeline shrunk. "We always strive to deliver high-quality results regardless of challenges that evolve over the course of a project," noted MPC LA MD Andrew Bell. "With Patents, our team delivered top-notch work in just nine days and in time for the Oscars, one of the biggest television events of the year." Art is a historical tour through the SL-Class, showcasing the model's many iterations against a backdrop of an ever-changing Los Angeles from the 1940s to present. MPC swept Planchon's footage, removing or replacing signage and architecture to make sure everything was era specific, then added subtle details, including a 1960s-era motel and crowd duplication and structural features at a race track. MPC London Colorist Jean-Clement Soret, whose relationship with Planchon goes back more than a decade, took the director's Red Epic footage and bathed it in a filmic style evoking these bygone eras. "Anonymous did a fantastic job prepping their locations around LA to capture the architecture, automobiles, dress and characters of each era," noted Bell. "Their careful work made our post and clean-up processes that much easier, especially on the Telecine, as setting a cinematic and period-specific grade for each of the decades was pivotal in creating the spot's feel."

    Art

    案例简介:MPC 与梅赛德斯一起参观 看看 MPC 两个新梅赛德斯-奔驰景点的漂亮视觉特效,很明显,这个工作室喜欢时尚。MPC 与匿名内容总监 Frederic Planchon 和 Merkley + 合作伙伴 GCDs David Fox 和 Scott Zacaroli 合作,致力于推广 e级和 SL 级车辆。 专利是一种集成的 CG 奇观,其特点是专利的彗星状尾巴聚集在一辆 e级轿车后面,它席卷城市、乡村,扭曲的海滨和山区道路, 向在新豪华机器上工作的 80,000 多项梅赛德斯-奔驰专利致敬。 为了确保在短时间内交付大量拍摄,MPC 进行了广泛的拍摄前研发,与 Planchon 和机构创意人员密切合作。CG 团队开发了一系列策略,包括粒子动画和大量单独的动画文件,以实现创造性的愿景,随着镜头数量的增加和时间线的缩短,这些工作获得了回报。 “我们总是努力提供高质量的结果,而不管在项目过程中遇到什么挑战,” MPC LA MD 安德鲁 · 贝尔指出。“凭借专利,我们的团队在短短九天内完成了一流的工作,并及时参加了奥斯卡,这是今年最大的电视活动之一。" 艺术是一个通过 SL 级的历史之旅,展示了该模型的多次迭代,背景是从 1940 到现在洛杉矶的不断变化。MPC 扫描了 Planchon 的镜头,移除或替换了标牌和建筑,以确保一切都是时代特有的,然后添加了微妙的细节,包括 1960 时代的汽车旅馆和人群复制以及赛道的结构特征。MPC 伦敦调色师 Jean-Clement Soret,他与 Planchon 的关系可以追溯到十多年前,拍摄了导演的红色史诗镜头,并以电影风格沐浴在其中,唤起了这些过去的时代。 贝尔指出: “匿名者在洛杉矶周围的位置做了出色的准备工作,以捕捉每个时代的建筑、汽车、服装和人物。”。“他们的精心工作使我们的帖子和清理过程变得更加容易,尤其是在电视上, 作为设置电影和特定时期的等级,几十年来的每一个都是创造现场感觉的关键。"

    Art

    案例简介:MPC TAKES A TOUR WITH MERCEDES Take a look at MPC's beautiful VFX for two new Mercedes-Benz spots and it's clear that this studio likes to ride in style. MPC teamed up with Anonymous Content Director Frederic Planchon and Merkley + Partners GCDs David Fox and Scott Zacaroli on the efforts, which promote the E-Class and SL-Class vehicles. Patents is an integrated CG spectacle featuring a comet-like tail of patents swarming behind an E-Class sedan as it storms through city, country and twisting seaside and mountain roads, paying homage to the more than 80,000 Mercedes-Benz patents at work in the new luxury machine. In order to ensure delivery of a large number of shots in a short turnaround, MPC did extensive pre-shoot R&D, working closely with Planchon and the agency creatives. The CG team developed a mix of strategies involving particle animation and a good deal of individually animated papers to deliver the creative vision, work that paid off as the number of shots increased and the timeline shrunk. "We always strive to deliver high-quality results regardless of challenges that evolve over the course of a project," noted MPC LA MD Andrew Bell. "With Patents, our team delivered top-notch work in just nine days and in time for the Oscars, one of the biggest television events of the year." Art is a historical tour through the SL-Class, showcasing the model's many iterations against a backdrop of an ever-changing Los Angeles from the 1940s to present. MPC swept Planchon's footage, removing or replacing signage and architecture to make sure everything was era specific, then added subtle details, including a 1960s-era motel and crowd duplication and structural features at a race track. MPC London Colorist Jean-Clement Soret, whose relationship with Planchon goes back more than a decade, took the director's Red Epic footage and bathed it in a filmic style evoking these bygone eras. "Anonymous did a fantastic job prepping their locations around LA to capture the architecture, automobiles, dress and characters of each era," noted Bell. "Their careful work made our post and clean-up processes that much easier, especially on the Telecine, as setting a cinematic and period-specific grade for each of the decades was pivotal in creating the spot's feel."

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