Wrigleys Extra Deals With Animated Foods

Wrigley Australia is promoting Extra gum as an effective way to deal with unwanted food remains with two TV ads, Tab and White. CGI characters, representing a banana, doughnut, coffee, soft drink, pop corn pack and cigarette, are dealt with through Wrigley’s Extra.

Foods fight it out at the barbershop


In ‘Tab’ a young man is harried by a gathering group of demanding food characters. They’re there in the car. They’re there at the hairdressers, fighting on the bench. They’re there at the movies. He finally solves the situation with a stick of Extra gum, leaving the foods behind in the office lift.

Click on the image below to play the video.


In ‘White’ a woman carries out her social life, harried by the pesky foods. Eventually she loses them by chewing on a piece of gum.

Click on the image below to play the video.

Creative and Production Credits

The Annoying Foods spot was developed at DDB Sydney, by executive creative director Matt Eastwood, creative director Steve Back, art director Antony Simmons, copywriter Alexander Wadelton and agency producer Honae MacNeill.

Filming was directed by Jonathan Baker via Window Productions, with producer Johnny Greally and director of photography Nigel Bluck.

See the 45 second quicktime video, drawings, color renditions and background to the production of Extra Tab at A Twin Thing (Jon and Josh Baker).

Jon Baker says, “For me, the most exciting thing about this job was the thought of creating real toy characters that walk around, have personalities and feel completely alive and in the scene. From their appearance, to the 3d animation, to the lighting, I wanted there to be no doubt that they could actually exist and pull off everything we wanted them to do. Look-wise, I was influenced from a variety of vinyl designer toys… the style you’d find in boutiques like Kid Robot or surrounding the desks of designers and 3d nerds the world over. We went to a lot of effort to incorporate the tiniest of realistic details, from casting seams, to paint inconsistencies, to scuffs, to manufacturer’s stamps… even if you don’t actually notice them in the final ad”.

Editor was Bernard Garry at The Editors and Karl Marks.

Conceptual designer for the animated characters was Morten Rowley from MunkMotion.

Visual Effects

Post Production was done at Fuel VFX by VFX Supervisor Andrew Hellen, executive producer Jason Bath, VFX Producer Kilou Picard, 3D Supervisor Anders Thonell, Characters TD Craig Baxter, Modeling Aiden Weatherby, Texturing Richard Pritchard, animators Andy Sutton, Craig Baxter, Gael Matchabelli, Ray Van Steenwyk, Lighting: Pawel Olas, Matt Hermans, 2D Supervisor Sam Cole, designer Marianne Khoo, compositors Chris Davies, Danielle Hession, Dexter Davey, Edwin So, Koji Yamaguchi, Matthew Wynne, Tate Arbon.

Fuel was provided with the initial character designs by illustrator Morten Rowley and from these developed up the 3D models, spending a lot of time discussing the different 3d toy textures with the director, to make the toys look as real as possible. Jonathan is a big fan of vinyl designer toys from artists like Kid Robot, Tim Tsui, Pete Fowler and Head Lock Studio, and wanted his characters to have a similar quirky sensibility. The director also insisted that the characters be seamlessly integrated into their environments; that they appeared like real toys that had sprung to life.

“There lies the challenge”, admits Fuel’s 3D supervisor Anders Thonell, “animating the characters is only half the job, the thing that makes them look as if they live in the scenes is the way that they physically interact with all the surfaces and environments around them”.

Thonell explains, “When CG meets live action, whether it is an escalator, linoleum floor or barber-shop chair, you have to recreate the real-life environments, their structure, lighting and textures in 3D, because the characters cast shadows and reflections – they affect the environment. If you want digital animation to be convincingly integrated into live action footage, 3D environments, elements, lighting and texturing, are key”.

Sam Cole who was the lead compositor on Wrigley’s agrees, “When you get it right no-one notices, but get it wrong and the animation will ‘pop’ which is why I’m so happy with the work that Fuel’s lighting and ‘shake’ compositing team did on this job, in particular the contribution of lighting technical lead, Pawel Olas”.


Music was produced at Nylon Studios. It’s an original piece written by Nylon specifically for the spot. The brief was to create something cool that had some loose lyrical association with the story of the guy getting followed around. Music and lyrics are by Nylon composer Damian De Boos Smith.