Audi A4 Progress is Beautiful in Living Room and Separation
Audi presents the A4 as the car that surpasses the Mercedes Benz in class with “Living Room”, an effects-driven television commercials “Living Room” and “Separation”, providing the line of the Audi A4 being the biggest, fastest, most fuel-efficient car in its class.
Backed by an distinctly aspirational soundtrack, a smoothly tracking camera floats into an ornate Victorian living room, replete with carved wood, leather chairs, hanging chandelier, and a carefully coiffed Afghan dog. As the camera continues to orbit the room, however, the room itself changes with the shifting daylight. Floor-to-ceiling windows replace brick walls, revealing a Zen-like garden; simple, more modern furnishings supplant their flamboyant predecessors; natural light displaces light bulbs; and a more rough-and-tumble dog succeeds the Afghan. The piece-de-resistance arrives as the spot closes, when the Mercedes-Benz in the driveway is replaced by the Audi A4 and the tagline: “Progress is Beautiful.”
The Audi A4 moves in slow motion across the finishing line of an automobile race. Slowly turning letters align above the competion: “Slower, Smaller, Less Fuel Efficient”. Data to back up these claims is provided in small print for perhaps two seconds.
“Audi was already on a roll with the launches of the R8 and the A5 and we’re continuing that trend with the entirely new A4,”said Scott Keogh, chief marketing officer, Audi of America.
“With the A4, we have a car that is quicker, more fuel-efficient and roomier than the competition. This campaign sends that message in a clear and dramatic fashion. We used AMCI and EPA data to prove every claim we make in these spots. We simply reported the facts in an engaging fashion. We’re no longer content to be among the leaders in luxury, we want to be the leader.”
The Truth In Engineering project was developed at Venables, Bell & Partners, by creative director Paul Venables, associate creative director Erich Pfeifer, copywriter Ned Brown, and agency producer Craig Allen.
Filming was shot by director Jason Smith via Bob Industries with director of photography Mauro Fiore, production designer/art director Samantha Gore, executive producers Chuck Ryant, John O’Grady and T.K. Knowles, producer Bart Lipton. Smith has since moved to HSI Productions.
Sound was designed at Elias. Music was composed by Nate Morgan (Living Room) and Jonathan Elias and Kenny Segal (Separation).
Visual effects were developed at Method Studios by lead 2D VFX artist/VFX shoot supervisor Jake Montgomery, lead 3D VFX artist Andy Boyd, 2D VFX artists Andy Mower, Billy Higgens, Brian Petras, Casrsten Dietz, Noah Cadis, Ryan Raith, Trent Shumway, 3D VFX artists Chris Smallfield, Felix Urquisz, Floyd Raymer, Jack Zaloga, Sean Duman, junior 2D VFX artists Bill Schaeffer, Edgar Diaz, Lyndal Heathwood, junior 3D VFX artists Alexander Lee, Jonathan Vaughn, Rachael Campbell, Todd Herman, executive producer Lisa Houck, head of production Leighton Greer, producer Erin Hicke.
This project seamlessly blends 3D and live action in a unique and interesting way,” says Andy Boyd, lead 3D artist at Method.
“Audi’s core message is about elevation, refinement, and style; about working towards a higher, more elegant goal. For this spot, we had to present an environment that is rapidly constructing and deconstructing with the passage of time, but present it in a pristine, stylish fashion. To achieve that, we tied beautiful footage together with some imaginative, photorealistic 3D animations.”
Previsualisation was done by Gregg Lukomski at Halon, Santa Monica.