Honda Fit Is Go with Animation
American Honda and its ad agency RPA have launched the all-new small car, the Honda Fit, with six 5-second and two t30-second TV ads. Launched on April 20, the ads feature a robotic voiceover and a quirky connection with the characteristics of the Honda Fit. The tagline: “The Fit Is Go”.
Click on the image below to play the Frisky Predator video.
Click on the image below to play the Nocturnal Flyer video.
Click on the image below to play the Speedy Demon video.
Ferocious Small Dominator features a series of ‘car eat car’ encounters. A medium sized car is eaten by a large car which in turn is eaten by an SUV. The final triumph is claimed by a Honda Fit small car.
Cat-like Reflexes is a 30-second ad features a Honda Fit being lowered upside down through the roof of a futuristic show room. Released from above, the car flips the right way up, lands on its wheels and heads off. A robotic voiceover says, “Cat-like Reflexes! The Fit. New From Honda. The Fit is Go!” Click on the image below to play the Cat Like Reflexes video.
Honda Fit Credits
The Fit Is Go campaign was developed at RPA, Santa Monica, by creative director Todd Carey, art director Curt Johnson, executive producer Gary Paticoff, and agency producer Sabrina Shamma.
RPA‘s project associate creative director Curt Johnson says, “For the Fit’s launch, we created a print/internet campaign showing one iconic-type character image (cartoon versions of a bat, a silver bullet, etc.) representing a unique feature of the Fit, followed by a picture of the car itself. For this key component of the campaign’s broadcast elements, we asked A52 to bring the print imagery to life in six five-second spots. an attention-grabbing approach which creatively packages many of the ideas we wanted to convey about the Fit.”
To create each spot, A52’s team worked closely with Johnson and his agency colleagues, including associate creative director Todd Carey, creative directors Joe Baratelli and David Smith, and producer Sabrina Shamma. A52 was instrumental in establishing the look and color-scheme for each spot, and in designing the animated backgrounds.
The team of A52’s CG supervisor Andy Hall provided CGI versions of the Fit, and each was lit to match the initial image before being composited into its animated background. Lead Flame artist Kirk Balden used Flame to re-create backgrounds for a more 3D feel (“Nocturnal Flyer” and “Speedy Demon”), to animate them (“Mucho Muscle”) or simply to color-correct and vignette them for consistency.
A52’s visual effects team also included executive producer Mark Tobin, producer Jenny Bright, designer Michael Brown and 3D animators Chris Janney and Kirk Shintani.
The end-tags for each of these spots were created by the team from bicoastal Stardust, including executive producer Eileen Doherty, producer Amy Kaufman Levy, CG supervisors Jake Banks and Chris Sanders, and 3D artists Robin Roepstorff, Hai Ho, Sam Sparks, Michael Jones.
Each spot’s music was composed by Jimmy Haun of Elias Arts, with executive director Ann Haugen and creative director Dave Gold.
Sound design was courtesy of 740 Sound‘s Eddie Kim with producer Scott Ganary.
Each spot’s final mix was engineered by Loren Silber of Lime Studios, with producer Jessica Locke.