Pedigree Adoption Drive in Yellow and Red
Pedigree in New Zealand launched the 2012 PEDIGREE® Adoption Drive for abandoned or mistreated dogs recently with an innovative cinema experience. Viewers at Hoyts screenings of The Avengers were offered the chance to donated to the Pedigree Adoption Drive. If they chose to donate they were provided with a pair of red glasses. If they didn’t they were handed yellow glasses. 3D cinema technology was adapted to project two three minute commercials on the same screen. Those who donated saw the benefits of their charity in the story of Buzz, while the others would probably cry a little and end up donating anyway.
Click on the image below to play the Unrescued (Red Glasses) video
Click on the image below to play the Rescued (Yellow Glasses) video
Pedigree Adoption Drive Credits
The 3D Adoption Drive campaign was developed at Colenso BBDO, Auckland, by creative chairman Nick Worthington, creative director/copywriter Levi Slavin, art director Jae Morrison, digital creative director Aaron Turk, group account director Scott Coldham, senior account manager Dave Munn, account executive Courtney Herbert, planner Hayley Pardoe, designer Kate Slavin, agency producer Jen Storey, digital agency producer Serena Fountain-Jones.
Filming was shot by director Nic Finlayson via Finch, Auckland, with producer Phil Liefting, executive producer Rob Galluzzo, creative technology director Emad Tahtouh, director of photography Crighton Bone and art director Ross McGarva.
Sound was designed at Franklin Rd, Auckland. Music, “Lullable” by Sean Donnelly, Mushroom Records, was performed by SJD, courtesy of Round Trip Mars.
Finch director of creative technology, Emad Tahtouh, discovered an ambiguity in conventional 3D technology and exploited it to create the system which we call the 37 Degree Process. It differs from 3D in several ways. Rather than use the polarisation technique to display a single stereoscopic 3D image to the viewer, it uses the same technology to display two discreet 2D images. Two completely separate 2D video streams are polarised, similar to the way 3D video is polarised, but those images are sent to different viewers. An application of this technology is to give consumers glasses, which contain either two left polarised lenses or two right polarised lenses, which means half the audience could be watching Film A while the other half was watching Film B.