Friskies Adventureland Tasty Treasures in 3D
Nestle Purina used the premiere of Pirates of Caribbean: On Stranger Tides to show Friskies Adventureland/Tasty Treasures Combo, a 3D cinema commercial bringing together two commercials featuring a cat in a real-world kitchen and a can of Friskies which emits a magical display of golden confetti. The Friskies Wet campaign begins a cat who jumps through a magical looking glass and wanders through an animated wonderland, encountering turkeys and cows, and riding on an animated fish-shaped boat. The second half brings animated characters from the clip into the studio to add cheese to the mix.
The Tasty Treasures Combo portion was developed at Avrett Free Ginsberg by art director David Estoye, copywriter Barry Flanik and producer Alicia Rodgers.
Filming was shot by director Shy The Sun via Passion Pictures with designer Ree Treweek, illustrator Linsey Levendall, animators David Sigrist and Magali Barbe, lighting technical directors Stuart Hall, Guillaume Cassuto, Stephane Coedel, VFX artist Sajjad Amjad, CG coordinators Aline Ngo, Helen Lord, Head of 3D Jason Nicholas, producers Doireann de Buitléar and Nina Pfeiffer, executive producer Nicola Finn.
VFX were produced at Nice Shoes, New York, by VFX artists Russ Bigsby and Rich Schreck.
The Adventureland portion was developed at Avrett Free Ginsberg by art director Erik Denno, creative director/copywriter Mary Paula Allegaert, executive producer Betsy Rosenblum.
Click on the image below to play the making-of video in YouTube
Filming/animation was shot by director Shy the Sun via Passion Pictures. VFX, including conversion from 2D to 3D, were produced at Nice Shoes, New York, by VFX artists Russ Bigsby, Rich Schreck, Bryan Rosenblum, Vincent Roma, John Shea, with producer Pat Portela.
The spot conversion, for Avrett Free Ginsberg, was overseen by Nice Shoes’ VFX artists Rich Schreck and Russ Bigsby as well as senior producer Pat Portela. Technical challenges were considerable, adds Bigsby. “There was a lot of rotoscoping, and we basically had to deconstruct the whole spot and then put it back together in a 3D world by projecting images onto 3D geometries and utilizing the stereoscopic cameras in the software. You kind of make up the space, though you’re a bit limited in what you can do, as it’s still 2D, but in a 3D space.”