Animation included
Cannes Digital technology dominated the scene at the 52nd Cannes International Advertising Festival.
Cannes Digital technology dominated the scene at the 52nd Cannes International Advertising Festival.
In May, the Cannes Film Festival showed the world premiere of George Lucas' third "Star Wars". In digital projection. A screening with an epochal character, because this digital "Star Wars" in the cinema can also be seen as a declaration of war on conventional celluloid film.Digitally projected films were also part of the good tone or image at the advertising festival in June. And since content and form ideally form a unity, digital technology has naturally also had an impact on the narrative style of the forward-looking commercials: "Digitally Processed Imaging" is the magic word that can be used to move emotions in a completely new way. And what has this actually achieved?
Frank Bodin, CEO Euro RSCG, left Cannes a little "confused". For him, the jury was "disoriented" and he also cannot understand the decision in favor of the Honda spot by Wieden + Kennedy as the big winning film. Bodin does not believe that animated films are the new trend. What is striking, however, is that in addition to a great deal of innovation, "a true orgy of execution" can be seen in the high-flyers in both film and print. "A new level has been reached, which of course requires corresponding resources."
Even those who were not able to attend Cannes on the Côte can keep up with the discussion about the latest trends in the international creative business. Pius Walker, for example, who made it onto the shortlist in Cannes with his spot "Garden" for Düring's Powerflame, followed the competition on the Internet every day. According to Walker, you almost have a better overview on the website www.canneslions.com than on site because you are not constantly distracted by parties. He was pleased to discover that "not everything has been done before", as is usually the case. He also discovered that most Swiss spots "have a weak point in the music".
Markus Gut traveled to Cannes at least for the weekend. The CD from Publicis was delighted to be shortlisted for the "Rhinoceros" commercial for the Swissinfo internet portal. Not an animated film. Surprisingly, an animated rhinoceros by Publicis for the Zurich Zoo's "Lion enclosure" fundraising campaign did not make it onto the shortlist for Gut. He therefore does not want to overestimate the "trend". "On the other hand, I also noticed that more cheerful films were shown this year than in the past," says Gut.
Ernst Wirz, a director who is better known for his acting films, also does not want to overestimate the trend towards animation. "You can still attract attention with good action, but it's often staged in a more extreme way. I can't get a commercial with people running and screaming out of my head since Cannes." Wirz has noticed that animated films are much more creative than they used to be. "No longer just special effects for their own sake."
Bene Abegglen also noticed "scream films" such as those seen by Ernst Wirz. The Creative Partner at Contexta also noticed that there were fewer commercials with crowd scenes, but many "with emotion and a sensible use of humor". This meant that even hours of visioning never got boring for him. He says: "More clients should be brought to Cannes for this kind of lesson."
Matthias Freuler, CD Wirz Werbung, confirms the trend towards DPI. However: "Trends are one of those things. So let's talk about a current 'preference'. This year's festival did indeed show a preference for drawn films. It already started last year. The dancing drops of water to the music of Queen won gold for Evian. I fear that these drawn films will be seen as a trend, and then we will be inundated with a plethora of drawn animated films at the next edition of the festival. And then the mini-trend will be over again."
DPI or Digitally Processed Imaging is of course also celebrated as a trend in the festival newspaper Lions daily. In an article entitled "Magicians on the move", it is estimated that 99 percent of the spots shown have been digitally processed. However, it is no longer just animated films that can be seen, but often a whole firework display of computer effects. "Commercials with an overwhelming 'wow effect' make it difficult for subtle films," said Werbewoche correspondent Beat Fritsch at the cinema.
A place on the shortlist: Powerflame spot by Pius Walker.
In May, the Cannes Film Festival showed the world premiere of George Lucas' third "Star Wars". In digital projection. A screening with an epochal character, because this digital "Star Wars" in the cinema can also be seen as a declaration of war on conventional celluloid film.Digitally projected films were also part of the good tone or image at the advertising festival in June. And since content and form ideally form a unity, digital technology has naturally also had an impact on the narrative style of the forward-looking commercials: "Digitally Processed Imaging" is the magic word that can be used to move emotions in a completely new way. And what has this actually achieved?
Frank Bodin, CEO Euro RSCG, left Cannes a little "confused". For him, the jury was "disoriented" and he also cannot understand the decision in favor of the Honda spot by Wieden + Kennedy as the big winning film. Bodin does not believe that animated films are the new trend. What is striking, however, is that in addition to a great deal of innovation, "a true orgy of execution" can be seen in the high-flyers in both film and print. "A new level has been reached, which of course requires corresponding resources."
Even those who were not able to attend Cannes on the Côte can keep up with the discussion about the latest trends in the international creative business. Pius Walker, for example, who made it onto the shortlist in Cannes with his spot "Garden" for Düring's Powerflame, followed the competition on the Internet every day. According to Walker, you almost have a better overview on the website www.canneslions.com than on site because you are not constantly distracted by parties. He was pleased to discover that "not everything has been done before", as is usually the case. He also discovered that most Swiss spots "have a weak point in the music".
Markus Gut traveled to Cannes at least for the weekend. The CD from Publicis was delighted to be shortlisted for the "Rhinoceros" commercial for the Swissinfo internet portal. Not an animated film. Surprisingly, an animated rhinoceros by Publicis for the Zurich Zoo's "Lion enclosure" fundraising campaign did not make it onto the shortlist for Gut. He therefore does not want to overestimate the "trend". "On the other hand, I also noticed that more cheerful films were shown this year than in the past," says Gut.
Ernst Wirz, a director who is better known for his acting films, also does not want to overestimate the trend towards animation. "You can still attract attention with good action, but it's often staged in a more extreme way. I can't get a commercial with people running and screaming out of my head since Cannes." Wirz has noticed that animated films are much more creative than they used to be. "No longer just special effects for their own sake."
Bene Abegglen also noticed "scream films" such as those seen by Ernst Wirz. The Creative Partner at Contexta also noticed that there were fewer commercials with crowd scenes, but many "with emotion and a sensible use of humor". This meant that even hours of visioning never got boring for him. He says: "More clients should be brought to Cannes for this kind of lesson."
Matthias Freuler, CD Wirz Werbung, confirms the trend towards DPI. However: "Trends are one of those things. So let's talk about a current 'preference'. This year's festival did indeed show a preference for drawn films. It already started last year. The dancing drops of water to the music of Queen won gold for Evian. I fear that these drawn films will be seen as a trend, and then we will be inundated with a plethora of drawn animated films at the next edition of the festival. And then the mini-trend will be over again."
DPI or Digitally Processed Imaging is of course also celebrated as a trend in the festival newspaper Lions daily. In an article entitled "Magicians on the move", it is estimated that 99 percent of the spots shown have been digitally processed. However, it is no longer just animated films that can be seen, but often a whole firework display of computer effects. "Commercials with an overwhelming 'wow effect' make it difficult for subtle films," said Werbewoche correspondent Beat Fritsch at the cinema.
A place on the shortlist: Powerflame spot by Pius Walker.
Rewarded with the Grand Prix: Honda from Wieden + Kennedy.
Andreas Panzeri
