OLIPOP gives you a good start
OLIPOP launches a new brand platform and campaign, titled A Good Start.
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Prebiotic soda brand OLIPOP has unveiled a new campaign, “The Feel Good Soda,” created in partnership with creative agency Callen.
At the heart of the campaign is a hero film that brings OLIPOP’s feel-good positioning to life through a blend of live-action storytelling and colourful animation. Featuring a playful reimagining of The Chordettes’ classic hit Lollipop, updated with the lyric “Olipop, Olipop,” the spot introduces a cast of animated prebiotic characters that represent the positive impact of better-for-you soda.
Callen enlisted the visionary director Freddie Powell at Drool Productions who worked with lead animators Luca & Sinem at Not To Scale, with final compositing handled by Untold Studios.
Bringing the campaign to life required an unusually collaborative production process. With an accelerated timeline, live-action production, character development, animation and compositing all had to happen simultaneously rather than sequentially.
Credits
View on- Agency Callen/Austin
- Production Company Drool Productions
- Director Freddie Powell
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Credits
View on- Agency Callen/Austin
- Production Company Drool Productions
- Director Freddie Powell
- Production Co Not To Scale
- Editing Trim
- VFX Untold Studios/London
- Animation Not To Scale
- Color TMLS
- Audio Post Lime Studios
- Production Services Robot
- Chief Creative Officer Craig Allen
- Creative Director Matt Vitou
- Creative Director April Lauderdale
- Producer Andrew Daulton
- Executive Producer Genevieve Sheppard
- Producer Jess Wylie
- Production Designer Laurence Bishop
- DP Tom Townend
- Editor Thomas Grove-Carter
- Post Producer Claudia Celeste
- Head of Production Tom Igglesden
- VFX Supervisor George Rockliffe
- Founder/Executive Producer Dan O’Rourke
- Director/Animator Luca & Sinem
- Executive Producer Maud Beckers
- Animation Producer Sarah Butterworth
- Colorist Julien Alary
- Post Producer Eli Mari Sandal
- Executive Producer/Owner Liam Johnson
- Post Producer Chloe Eaton
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Credits
powered by- Agency Callen/Austin
- Production Company Drool Productions
- Director Freddie Powell
- Production Co Not To Scale
- Editing Trim
- VFX Untold Studios/London
- Animation Not To Scale
- Color TMLS
- Audio Post Lime Studios
- Production Services Robot
- Chief Creative Officer Craig Allen
- Creative Director Matt Vitou
- Creative Director April Lauderdale
- Producer Andrew Daulton
- Executive Producer Genevieve Sheppard
- Producer Jess Wylie
- Production Designer Laurence Bishop
- DP Tom Townend
- Editor Thomas Grove-Carter
- Post Producer Claudia Celeste
- Head of Production Tom Igglesden
- VFX Supervisor George Rockliffe
- Founder/Executive Producer Dan O’Rourke
- Director/Animator Luca & Sinem
- Executive Producer Maud Beckers
- Animation Producer Sarah Butterworth
- Colorist Julien Alary
- Post Producer Eli Mari Sandal
- Executive Producer/Owner Liam Johnson
- Post Producer Chloe Eaton
“We were developing characters and deciding on 2D designs while we were actually shooting the thing,” said Powell. “Normally it’s a relay race where one stage hands off to the next. On this job everything had to leave the starting blocks at once.”
“I was really keen to push the envelope and make Untold’s life as hard as possible,” Powell joked. “I wanted the camera moving constantly and I was obsessed with the cartoons dipping in and out of direct sunlight. Thankfully everyone involved was up for the challenge.”
Despite the technical complexity, Powell says the project reinforced what he loves most about animation. “It requires an unfathomable amount of trust and communication. You hand over your precious idea to artists and creators and they come back with something that makes your heart soar.”
Animators Luca & Sinem added: "The most challenging aspect of the project was managing the large number of characters appearing simultaneously in each scene. The goal was to create a vintage non serialised style, and having a choreographed action without making the animation feel repetitive. This required coordinating multiple animators working in parallel, often with limited time for feedback. In the live-action sequences, we also had to carefully balance the performances of the animated characters so they would complement the performance of the human actors.”
