Honda Ignition for Space
Honda has launched “Ignition”, a brand commercial paying homage to one of the boldest expressions of human curiosity and engineering endeavour; space flight. Space travel-inspired iconography and cinematic details aim to capture viewers’ imaginations, from atmospheric photography to the same climatic classical music that was etched into the Voyager 1 probe’s golden record and sent to the outer fringes of the solar system. Opening on Honda’s humanoid robot, ASIMO, the camera reveals a line-up of Honda products arranged on an impressive runway. The sky and sun are reflected in the road surface and the water below. Viewed from above, the formation mimics the familiar shape of a space shuttle or rocket.
The Honda Ignition film features a cameo appearance from McLaren-Honda driver Jenson Button, along with a voice recording of the late Formula 1 icon Ayrton Senna. The campaign includes a poster, print, and an online portal, honda.co.uk, introducing viewers to the technological advances and vehicles featured in the film: Asimo robot, the Moto GP racing bike, HR-V SUV, Civic Type R, NSX sports car, Honda Jet and Formula One.
Ignition was shot on location on the Podilsko-Voskresenskyi bridge, Kiev, Ukraine.
“We shot on an abandoned bridge in Kiev, [Ukraine]” says Dungate. “It was an epic shoot location, and aside from a little [visual-effects] clean-up on the bridge surface, what you see in the film is what existed, right down to the sun rising pretty much dead in the center of the runway.”
Honda Ignition Credits
The Honda Ignition campaign was developed at W+K London by creative directors Scott Dungate and Mark D’Abreo, senior creative director Kim Papworth, executive creative directors Tony Davidson and Iain Tait, producer James Laughton, design director Karen Jane, designer Sanket Avlani, interactive producer Silvan Schreuder, planner Martin Beverley, group account director Nick Owen, account director Alex Budenberg, account manager Olivia Amato-Pace working with Honda Motor Europe (HME) marketing team Jemma Jones and Jonathan Allee.
Filming was shot by director Aoife McArdle via Somesuch & Co with executive producer Sally Campbell, line producer James Waters, director of photography John Lynch, art director David Lee and wardrobe stylist Jane Petrie.
Editor was Dan Sherwen at Final Cut with assistant editors Leila Gaabi and Frankie Elster.
Visual effects, design and grade were produced at The Mill by executive producer Gemma Humphries, production assistant George Reid, shoot supervisor/2D lead artist Jon Wood, shoot supervisor/3D lead artist Dan Adams, shoot supervisor/2D artist Stefan Susemihl, 2D artists Brad Wood, Ed Poulson, Olivia O’Neil, Zoe Cassey-Hayes, 3D artists Giacoml Cavalletti, Sergio Xisto, Tom Hales, Alan Williamson, Alberto Lara, Benoit Gielly, Adam Dewhirst, Ian Baxter, Peter Agg, Will Burdett, Ashley Reemul, Ivor Griffin, Marta Carbonell, Philippe Moine, Anthony Northman, Stephen New, Paul maton, Ciaran Moloney, matte painters Jiyoung Lee, Aurelien Ronceray, motion graphics artist Ambrogio Bergamaschi and colourist James Bamford
Sound and music were produced at Factory Studios & Siren @ Factory Ltd by composer Walter Mair, sound designer Anthony Moore. Music is “A Trip on a Rocket Ship”, performed by Peter Pan Orchestra & Chorus, Beethoven’s Symphony No. 5 in C via Imagem PM, and Mozart’s Queen of the Night Aria from The Magic Flute, via Imagem PM.
Media was handled by Starcom MediaVest Group.