Audi presented the RS6 Avant as a car of beauty and precision in “Gymnasts”, a 2008 television commercial featuring stylized, choreographed merging of humanity and machine, the embodiment of human engineering. “Gymnasts” features a troupe of gymnasts twisting, twirling and moving with precision to a rhythmic track that includes actual Audi RS6 sounds recorded at a racetrack. They become the parts of the Audi RS6, using somersaults, backflips, bar exercises, jumps and seemingly impossible exercises to become the wheels, pistons, cylinder bank, crankshaft, twin turbos and glowing headlamps. “It is homage to the RS6′s powerful engineering that demands “performance from every part.”
Click on the image below to play the Gymnasts video in YouTube (HD)
The Audi Gymnasts campaign was developed at BBH London by creative director Nick Kidney, account director David Webster, copywriter Toby Allen, art director James Hilson agency producer Olly Chapman, and assistant producer Matthew Towell.
Filming was shot in Budapest by director Paul Hunter via Prettybird with director of photography Alex Barber, executive producer Kerstin Emhoff and producer Mike Rosen.
Editor was Andy McGraw at Cut + Run. “It was an honor to cut for Paul Hunter and an exciting project for many reasons, “says editor McGraw. “It required a combination of cutting to music and accurate comping of multiple layers to get exact timings. It’s a great example of how all of the production and post elements come together with powerful effect.”
Post production was done at The Mill, London, by producers Darren O’Kelly and Harry Jones, colourist Mick Vincent, lead Flame artist/VFX supervisor Yourick Van Impe, Flame assists Gareth Parr, Andy Bate, Adem Lambert, Shake Peter Hodsman, 3D Han Der Park, Previs team Rob Van Den Bragt, Fabrice Le Nezet, Jules Junuad, Francois Roisin.
For most sequences, the gymnasts’ performances were shot at different times and then layered to create larger groups, as if dozens of athletes are moving together in unison. For the opening sequence, in which the gymnasts depict the car’s headlights, the performances were shot separately and put together in three passes, duplicated to mirror the other side. Soft flares were added to this shot to give texture, shadow and the illusion of the headlamps’ glow.
Sound and music were produced by Neil Barnes and Nick Rapaccioli, LostDogFound, who earlier worked with Paul Daley in electronic music group Leftfield.