Camparisoda, the single serve aperitif produced by Campari, is being promoted in “Welcome to Giulia”, a visual effects laden television commercial following the life story of a young woman. “Welcome to Giulia” opens as a bartender flips the cap off a Camparisoda bottle. The opening triggers the life story that Giulia shares with a handsome stranger, who so vividly imagines her tale that the pair is transported into her daydream world. A series of intricately linked adventures reveal Giulia’s past as a ballerina, peace protester, and princess whose heart is broken by a knight in shining armor. Subsequent vignettes show her exploring the world by horseback, motorcycle and hot air balloon, before finally returning to the present day at the bar as she shares her story over a drink. Each vignette creatively segues into the next through various in-camera and visual effects, with each transition providing a key storytelling element as Giulia travels effortlessly through time and space in the scenes.
Click on the image below to play the Welcome to Giulia video in YouTube (HD)
The Welcome to Giulia ad was developed at Euro RSCG, Milan, by executive creative director Giovanni Porro, creative directors Erick Loi and Dario Villa, agency producer Richard Ronan, account director Giancarlo Pagani and account executive Federica Papetti.
Filming was shot by director Grady Hall via Motion Theory, with executive producers Javier Jimenez and Annie Johnson, line producer John Marx and director of photography Martin Coppen.
Post production and VFX were produced at Mirada by executive creative director Grady Hall, head of visual effects John Fragomeni, senior art director Jonathan Wu, VFX supervisor Jonah Hall, VFX producer Scott Boyajan, designers Casey McIntyre, Heidi Berg, James Levy, Andrea Tseng, designers/animators Phil Guthrie, Ben Hansford, Tom O’Neill, Scott Uyeshima, previz team Slavik Anishchenko, Samir Lyons, modelers Colin Cromwell, Charles Stornolio, 3D generalists Brian Broussard, Oded Raz, FX lead Kevin Gillen, FX animators Scott Pagano, Charles Stornolio, comp supervisor Andrew Ashton, compositors Daniel Raschko, Brett Reyenger and Mark Robben, matte painters Chris Duncan, Paul Fedor, Eric Mattson, roto artists Elissa Bello, Zac Chowdhury, Megan Gaffney, Aya Peard, Edie Paul, Carlos Rosario, Jackie Shibles, Midori Witsken, Shih-lin Wu, tracking team Juan Colon, Dylan Jutt, Apirak Kamjan, Jared Sanders, Flame artists Mark Renton, Brian Conlon, production manager/HR director Tina Van Delden, production coordinator Michael Ross, and storyboard artist Yori Mochizuki, editor Fred Fouqet, assistant editors Jeff Aquino and Rigo Madrigal.
Hall and his Motion Theory production team shot the commercial on location in Buenos Aires, Argentina. The highly technical shoot involved wire and stunt work of the lead actress, who had a background in dance and horseback riding, so was physically capable of carrying off the spot’s various stunts. This was all captured as live-action footage with a RED One camera fastened to a Locomoco motion control rig. To achieve the Viewmaster-like effect as seen in the spot’s final travel vignettes, Hall spearheaded the engineering of a custom crane arm weighted on a pendulum that allowed DP Martin Coppen to spin and shoot at the same time. The visual effects team back at Motion Theory sister company Mirada then contributed extensive CG, matte painting and compositing work to give the spot its final polish.