Prosecco Film Pop & Spritz by ANALOGFOLK Sydney

The Film titled Pop & Spritz was done by ANALOGFOLK Sydney advertising agency for Prosecco in Australia. It was released in Dec 2017.

Prosecco: Pop & Spritz

Media
Released
December 2017
Posted
March 2020
Market

Credits & Description:

Media: Integrated
Brand: Jacob's Creek Prosecco
Global senior brand manager - Amelie Boucherit and Rohan Nayee
Global activation assistant brand manager - Bella Sufferini
Category: Drinks, alcoholic
Agency: AnalogFolk
Production: Limehouse Creative
Country: Australia
Executive Creative Director: Matt Grogan
Associate CD / Art Director: Jimmy Zimmerman
Copywriter / Art Director: Alec Jankowksi
Group Account Director: Jonny Sycamore
lead producer: Emily Entwisle
group account director: Jonny Sycamore
Production company: Limehouse Creative
Visual Effects: Limehouse Creative
DoP: tony luu
3d creation: Chris Andrews, Limehouse
fluid sims: Octavio DeLellis
flame comp: Richard Lambert
VFX supervisor (shoot): Andreas Wanda
Director: James Lucas
producer: Kyle Belcher
ep: Duncan Harriss
Focus/assist: Ricki Byrne
gaffer: Miles Jones
standby props: Tony Moss
assistant photographer: Felipe Neves
stylist: Sally Parker
vo: Kellie Jones
Agency Producer: Emily Entwisle
Editing Company: Limehouse Creative
Stills photographer: Janyon Boshoff
Sound & vo: Uncanny Valley
Flame Artist: Richard Lambert
Fluid Sims - Octavio Delellis
Published: November 2017
Synopsis:
What we are all about. Smart and Integrated Productions:
Exploring all the routes to production, and choosing and combining for the best quality result for budget and time.
Our capability to execute in multiple ways and combine these techniques (live action, 3D, VFX, and photography & retouching for print) and our control of production and post end to end allowed us to bring together the best skills and talent for the project, and run in an integrated manner. Photography and motion were shot on the same day by two crews one each for the motion and the stills but sharing a large studio and stylist and ultimately expenses.
Large parts were built in 3D both for the print and the video.
Everything could have been executed in 3D but the best result came with a combination of real footage, photographic elements for the print, live action shot on a phantom 4K and CGI.