That Calls for a Carlsberg
Carlsberg is running a new advertising campaign featuring the world’s biggest challenges. A new tag line, “That calls for a Carlsberg”, is built into television, print and outdoor ads, reflecting on the pleasure of an ice cold beer as a reward for achievement. In “Spaceman” an astronaut lands on the man so he can admire the view with help from a Carlsberg and a picnic chair. In “Everest” a climber scales the summit to erect a television aerial so he and his mates can catch a crucial programme back at base camp. Print and outdoor ads feature shots from the two TV adverts. The campaign includes 3D projections on the White Cliffs of Dover and Liverpool Street Station.
In 1953, mankind achieved something quite amazing. An epic challenge that had never before been conquered. Something truly deserving of a Carlsberg. Click on the image below to watch Everest, Carlsberg’s version of this pinnacle in the history of mankind.
In July 1969, mankind did something amazing. Something that had never been done before. Something really worthy of a Carlsberg. Click on the image below to watch Space, Carlsberg’s version of that historic step for mankind now.
The Carlsberg Facebook page provides opportunities for fans to send a message from the moon, and become involved in their own Everest ad.
The Calls for a Carlsberg campaign was launched with a massive 3D projection on the famous White Cliffs of Dover. Carlsberg’s team went to work repairing and refreshing the damaged cliffs overnight, earning them a well deserved beer for their endeavours. Giving an icon a fresh new look… that calls for a Carlsberg.
A 3D mapping projection at Liverpool Street Station in London took place on 5th April, with new look glass, cans and bottles breaking through the building to reveal themselves in all their glory as a reward for a good day’s work in the City of London.
The Calls for a Carlsberg campaign was developed at Fold7, by creatives Ryan Newey and John Yorke and agency producer Sandy Reay.
Post production was done at Framestore, London, by VFX supervisor William Bartlett and Robert Kolbeins, colorist Steffan Barry and producer Helen Hughes.
Editor was Eve Ashwell at Cut + Run.
Filming for the television commercials took place in New Zealand over three weeks and was supervised by William Bartlett. Everest entailed enhancing mountainous backgrounds with snow, accentuating the steepness of the climb and compositing a CG rope. But Framestore’s main challenge was to create a believable moonscape for Spaceman in Flame and Nuke, whilst avoiding the visual clichés of 1960s moon landing footage. Bartlett and his team started to develop the moonscape backgrounds in Nuke whilst on the shoot so they could be roughly composited on set to aid Kleinman’s direction.
The lunar module and visor were built in CG. The schedule was maximized by starting R&D three weeks before receiving the plates. The astronaut’s visor was built in CG with live-action reflections added in Flame so as to control how much of the actor’s all-important performance was visible in the final edit. Flame was also used to remove the bungee rig which helped the actor to emulate the moon’s weightless feel. The astronaut was filmed day for night, to help the long shadows seen on the moon. Framestore’s colourist, Steffan Perry, perfected the look with an atmospheric grade.