Tag Archives: Tim Vierling

Capturing the Olympic spirit for Coke

By Randi Altman

There is nothing like the feeling you get from a great achievement, or spending time with people who are special to you. This is the premise behind Coke’s Gold Feelings commercial out of agency David. The spot, which aired on broadcast television and via social media and exists in 60-, 30- and 15-second iterations, features Olympic athletes at the moment of winning. Along with the celebratory footage, there were graphics that feature quotes about winning and an update of the iconic Coke ribbon.

The agency brought in Lost Planet, Black Hole’s parent company for graphics, editing and final finishing. Lost Planet provided editing while Black Hole provided graphics and finishing.

Tim Vierling

Still feeling the Olympic spirit, we reached out to Black Hole producer Tim Vierling to find out more.

How early did you get involved in the project?
Black Hole became involved early on in the offline edit when initially conceptualizing how to integrate graphics. We worked with the agency creatives to layout the supers and helped determine what approach would be best.

How far along was it in terms of the graphics at that point?
Whereas the agency established the print portion of the creative beforehand, much of the animation was undiscovered territory. For the end tag, Black Hole animated various iterations of the Coke ribbon wiping onto screen and carefully considered how this would interact with each subject in the end shots.

We then had to update the existing disc animation to complement the new and improved/iconic Coke ribbon. The titles/supers that appear throughout the spot were under constant scrutiny — from tracking to kerning to font type. We held to a rule that type could never cross over an athlete’s face, which led to some clever thinking. Black Hole’s job was to locate the strongest moments to highlight and rotoscope various body parts of the athletes, having them move over and behind the titles throughout the spot.

What was the most challenging part of the project? Olympics projects tend to have a lot of moving parts, and there were some challenges caused by licensing issues, forcing us to adapt to an unusually high amount of editorial changes. This, in turn, resulted in constant rotoscoping. Often a new shot didn’t work well with the previous supers, so they were changing as frequently as the edit. This forced us to the push the schedule, but in the end we delivered something we’re really proud of.

What tools did you use?
Adobe After Effects and Photoshop, Imagineer Mocha and Autodesk Flame were all used for finishing and graphics.

A question for Lost Planet’s assistant editor Steven san Miguel: What direction were you given on the edit?
The spots were originally boarded with supers on solid backgrounds, but Lost Planet editors Kimmy Dube and Max Koepke knew this wouldn’t really work for a 60-second. It was just too much to read and not enough footage. Max was the first one to suggest a level of interactivity between the footage and the type, so from the very beginning we were working with Black Hole to lay out the type and roto the footage. This started before the agency even sat down with us. And since the copy and the footage were constantly changing there had to be really close communication between Lost Planet and Black Hole.

Early on the agency provided YouTube links for footage they used in their pitch video. We scoured the YouTube Olympic channel for more footage, and as the spot got closer to being final, we would send the clips to the IOC (International Olympic Committee) and they would provide us with the high-res material.

Check out the spot!