Angry Birds Bigger Badder Birdier

Rovio has launched Angry Birds Bigger Badder Birdier, a commercial promoting the mobile phone game Angry Birds 2. Set on Piggy Island, the film transports viewers to a luxurious and delightfully surreal paradise; where happy pigs frolic in the sunshine and swim in crystal clear waters. But Piggy Island is soon revealed to be the setting of an attack by a furious squad of Angry Birds, who have been plotting to take their revenge on their archenemy, the sneaky, flightless egg-thieving creatures who share the island with them. The film imagines a real-world adaptation of the game’s narrative, weaving fantastic imagery into the familiar world of Angry Birds.

Pig in Angry Birds Bigger Badder Birdier commercial

The film was shot in the lush real-life surroundings of Pig Island, also known as the “Home of the Swimming Pigs” or Big Major Cay, in the Bahamas, known for its unique inhabitants: a group of swimming wild pigs. The Mill’s team, led by Adam Droy, then aided in bringing the action of this spot to life by creating a host of CG pigs, palm trees, clouds, oceans and explosions. Each pig was hand animated and crafted with meticulous precision, staying true to the anatomy of these marvellous Bahamas inhabitants. The team paid extraordinary attention to detail, adding micro details in the skin such as wrinkles, pores and hair grooming.

Lead artist Adam Droy says, “We created four variations of pig from brown and spotty, to a more traditional pink pig. They were all rigged in Maya to have a realistic range of movement; they could breathe, sniff and even flap their ears – everything a pig has to be able to do. We also ensured their ears had the right dynamics to add secondary movement when running. It was really important to keep the animation realistic, but at the same time add in the energy and fun from the game into the movements of the pigs.”

Angry Birds Bigger Badder Birdier Credits

The Angry Birds Bigger Badder Birdier campaign was developed at Wieden & Kennedy London by creative directors Tony Davidson and Iain Tait, copywriters Paddy Treacy and Philippa Beaumont, art directors Mark Shanley, Artur Faria and David Goss, agency executive producer Dannie Stewart, group account director David Mannall, account director Laura McGauran, account manager Katie Savelli, head of planning Beth Bentley, planner Rob Meldrum, TV producer Lou Hake and creative producer Michael Winek.

Filming was shot by director François Rousselet via Riff Raff Films with executive producer Matthew Fone, producer Jane Tredget, director of photography Martin Ruhe, and production designer Ana Huber.

Editor was Dominic Leung at Trim.

Visual effects were produced at The Mill by post executive producer Gemma Humphries, production assistant George Reid, VFX shoot supervisors Barnsley and Adam Droy, lead 2D artist Barnsley, lead 3D supervisor Adam Droy, 2D artists Gianluca Di Marco, Ed Poulson and Grant Connor, 3D artists Mike Chapman, Paul Donnellan, Adam Dewhirst, Margaux Huneau, Peter Agg, Emanuel Strixner, Yoann Gouraud, David Hempstead, Luca Cantani, Adam Darrah, Andrew Bartholomew, Radu Clubotariu, Andreas Graichen, and Florian Mounie, matte painter German Casado, and colourist Mick Vincent.

Sound was produced at 750mph by sound designer Sam Ashwell and producer Mary-Ann D’Cruz.