Client: ADAL
Agency: OMI Media House
Year: 2018
Services: Creation, production, postproduction
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Let us begin 2018 Christmas advertising season. In a fairy-tale factory of artifi… that is:
Evergreen Christmas Trees, a tiny fairy tale creature chooses the one special seed for a little
girl waiting for her special Christmas tree.
This is an advert for Adal which reminds us about Christmas excitement and happiness. After all, Christmas tree is not only the most popular festive accessory but also a mythical symbol of revival originating from pagan traditions. It brings a magical atmosphere into our homes each year.
We have produced a short video which was preceded by a 30-second teaser. Along with
display adverts prepared by the client, the videos have become a part of the image and
selling campaign for Adal Evergreen Christmas Trees.
Production
The idea to depict the process of manufacturing of the product in an imaginary way is always a great opportunity to release a creative potential. It originated from the change of our way of thinking: “How about making a fairy tale about EVERGREEN CHRISTMAS TREES instead of artificial Christmas trees advert?” This question has sparked us up and we quickly became totally absorbed in the vision of a magical factory run by fairy tale characters. We have begun a 3-month production with designing the fairy-tale land and its inhabitants. We have created dozens of sketches and concept arts visualising the snowy land, the characters` design as well as the mechanics of various devices.
The joy of creation during 3D stage was also accompanied by numerous challenges. 
Each fantastic non-anthropomorphic creature has its custom-designed rig model. One of the encountered issues was e.g. the arm span of a character reaching out for a pea. Its collarbones had to be long enough to reach anywhere with its arms. The design of landscape elements was backed by hundreds of tests and changes, such as the matching of characters and landscape carving techniques with polygonal modelling. Under the time pressure we had to find the optimal solutions in the simulation of smoke particles. Lights, textures and models were aimed at building a blend of realism and puppet animation. That is why we have used the combination of sunlight and plenty of other light sources.
At the same time the shooting of video was taking place. The preparation of Christmas scenography was particularly strange during long summer evenings when the majority of work was done.
Sound engineers did not have an easy task. A lot of natural sounds have been produced in a studio but some of them were literally made by us in the office. A truly fantastic atmosphere was finally attained thanks to a narrator with a granny voice sounding as if she was telling a bed time story.
ADAL
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