Production company 1stAveMachine worked with J. Walter Thompson Toronto and Splenda to create an integrated marketing campaign that promotes the Stevia-based, calorie-free sweetener Splenda Naturals.
Coffee, a fully stop-motion animated spot, features an office scene where a gruff boss (a coffee mug) is laying off a packet of sugar, telling him that “sweet ain’t enough anymore.” The sugar packet figures out it’s that new “Splenda Naturals gal” who is replacing him. The boss explains that not only is she sweet, she’s healthier than sugar. The piece ends with a box of the product and the tag “Hello New Splenda Naturals Sweetener.”
Production companies Tronco and 1stAveMachine worked together to provide production and post production on the piece. The directors of the spot were Becho Lo Bianco and Mariano Bergara, and the production director was Anuk Torre Obeid. 1stAveMachine has represented Tronco and Mab and Becho exclusively worldwide for the last seven years, each year doing more work in the North American and international market.
“Mab, Becho and Anuk are directors and storytellers first and foremost. They own a stop-motion studio in Buenos Aires and have been experimenting in and perfecting this craft for over a decade, but perfect craftsmanship is only a tool to tell the story. We worked in a very collaborative way with the agency and were lucky enough to be able to be a part of the films from the ground up. We designed and built every character as well as the set,” reports 1stAveMachine executive producer/partner Sam Penfield. “As we work with agencies from around the world, many times remotely, we have built many tools in order to collaborate from a distance. Many in our business have not worked in stop-motion, and it is has some peculiarities in regards to process. The first step when we begin a job is to educate anyone on the team who is not familiar with stop motion — how to exploit its natural charm and what limitations that one should be aware of. Once there is an overall understanding of process, we build and previs in CG in order to work on pacing, camera and, most importantly, acting. In stop-motion, even inanimate objects ‘act.’
“For each frame, we build a visual hierarchy so that the viewer follows the story easily and then we fill each frame with interesting details that make for a richer experience on each viewing thereafter,” he continues. “In the case of Splenda, the pre-production was done remotely and the agency/client attended the shoot. Having a great pre-production process meant the shoot went smoothly and we had plenty of time to enjoy being in Buenos Aires.”
The editor was Nicolas Rivas and Alejandro Armaleo provided the color grade. The sound mix was via Pirate Toronto.