"Increase In Currency (Money love)" TV Commercial for Bontrust by Grabarz + Partner

Client: Bontrust Finance
Agency: Grabarz & Partner Werbeagentur GmbH
Executive Creative Director: Ralf Heuel
Creative Director: Ralf Heuel
Copywriter: Paul Von Muehlendahl
Art Director: Fedja Kehl, Petra Delitsch
Agency Producer: Anne Hoffmann
Account Supervisor: Thomas Eickhoff, Jasmin Schwarzinger
Advertiser's Supervisor: Christoph Wesche
Producer: Steffi Beck, Tobias Ziegler, Andreas Rothenaicher
Director Animationsregie: Andreas Pohl, Marcus Geerts
Music: Artist/Title: Supreme Music
Sound Design/Arrangement: Supreme Music
Sound Engineer: Florian Lakenmacher, Felix
Mueller, Maximilian Olowinsky
Post Production: Optix Digital Picture GmbH
Animation: Markus Geerts (leadartist), Michael Gottschalk, Florian
Weyh, Marc Goecke
Visuelle Effects: Marcel Lemme, Daniel Brylka, Marina Henzel
When the agency came to us with the idea to show the increase of money on the international market in connection with some kind of sexual relation, we were very enthusiastic. No doubt, we had to do this!
The goal was to create a world completely made out of banknotes and explicit characters that stood for themselves. So we spent many days and nights doing a lot of research finding the right objects such as furniture, buildings, bridges, certain landscapes, clothes, etc.
This procedure was followed by style frames in 2D to evoke the right feeling, tone and look for the film while having a special “origami look” in the back of our minds. After we were done creating rough animatics, we could start to fine tune our characters, as well as the different scenarios of the spot. Our final task was to blend all the scenes, camera tracks and sounds together.
All characters (Lincoln, Mao and the unknown lady) were created as 3D characters in Softimage XSI. Therefore, our designing team engaged in a lot of “origami studying.” To get used to the technique, we spent a lot of time with uncountable folding sessions. We took dollar and pound notes and folded Origami figures until our hands bled.
Then we were able to start with the digital modeling. Each character received an individual animation rig. With this digital skeleton we defined positions, rotations as well as the movements of the particulars.