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    Home Β» Aardman’s Will Studd Directs “Pint-Sized Perfection” For Thatchers Cider

    Aardman’s Will Studd Directs “Pint-Sized Perfection” For Thatchers Cider

    By SHOOTMonday, June 5, 2023Updated:Tuesday, May 14, 2024No Comments2191 Views
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    This light-hearted Thatchers Cider commercial uses stop motion animation from the Oscar-winning Aardman studio to bring viewers through the gates of Thatchers’ own Myrtle Farm home in Somerset, U.K.

    Aardman deployed its world-class skills in perfectly crafted hand-made miniature worlds to bring Thatchers’ cider-making expertise–yielding pint-sized perfection–to the screen. Iconic elements of Myrtle Farm such as its orchards help tell the story of carefully crafting the perfect drop of cider. Some familiar faces make an appearance throughout the commercial, including fourth generation cider maker Martin Thatcher making a big entrance for the weekly tasting. Viewers may also recognize the iconic Thatchers hot air balloon from previous ads, as well as Myrtle, the family dog.

    Conceptualized by creative communications agency Bray Leino, the spot was directed by Aardman’s Will Studd.

    A team of 40 creatives at Aardman were involved in the film, with animators alone needing over 480 hours to shoot the 40-second commercial. 

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    Credits

    Client Thatchers Cider Agency Bray Leino Production Aardman Will Studd, director; Danny Gallagher, producer; Chelsea Galloway, production coordinator; Alex Mill, floor manager; Jim Grant, Anh Cao, environment designers; Barry Reynolds, story artist; Chris Entwhistle, Diane Holness, Ellie Hugill, sr. modelmakers; Michelle Cranwell, Sarah Brydon, Noah Griffiths, modelmakers; Ana Taylor, trainee modelmaker; Vicky, Emily N, sr. costume makers; Sam Morris, DP; Adam Cook, camera assistant and moco; Nathan Ford, Nathan Sale, spark; Ellen Lynch, rigger; Tim Allen, Danial K, sr. animators; Grant Holden, jr. animator; Bram Twtheam, VFX supervisor & color grade; Chris Hawkes, comp supervisor; David Klein, lighting supervisor; Dan Gerhart, CG facial animation; Helena, 3D head sculps; Nathan Guttridge, 3D char rigging; Conrad Moody, CG lighting; James Grant, digital matte painting; Jordanne Richards, Bijun Zhuge, Isabel Howlett, compositors; Dan Williamson, offline editor; William Davies, sound design/track lay and final mix. (Toolbox: Photoshop, Dragonframe, Maya, Houdini, Nuke, Adobe Premiere, Resolve, Pro Tools) Art Dept. Set builds x6 sets and all Bespoke props, Inc. Balloon; Rajesh Westerberg, art director; Katie Louise, Dave Hayworth, set dressers; Lucy Beckett, props maker; Tom Sewell, construction; Georgie Ball, Jonathan Thrower, Gary Losh, Becky Weston, dressers.

    Media Type:Commercial: Television
    ScreenWork Categories:Commercial
    Video Tags:AardmanWill Studd



    Top Spot of the Week: BBDO, Director Anthony Frattolillo Get “Packing” For The American Red Cross

    Thursday, November 6, 2025

    Once again, this holiday season, BBDO New York and the American Red Cross have launched a campaign underscoring the urgent needs of families disrupted by disasters--something that occurs every eight minutes across the country, over 7,000 times during the
    holidays alone.

    Running on TV and online through December, the campaign include this PSA titled β€œPacking,” directed by Anthony Frattolillo via One Free Play. The spot begins with aβ€―family thatβ€―appears to be preparing for a trip. But the mood shifts dramatically when it is revealed theβ€―reasonβ€―they are really packing is an imminent wildfire, and that they are evacuatingβ€―to a Red Cross shelter.β€―The spot ends with a call to action: β€œThey’re relying on us. We’re relying on you. Please donate.”

    BBDO associate creative director Nicole Dombey shared, β€œI experienced an evacuation as a child, and I’ll never forget the quiet confusion of that moment. As a team, we wanted to capture that mix of innocence and uncertainty families feel in those moments.”
    Director Frattolillo stated, β€œI’ve packed that same car three times, sat in that same traffic jam, worrying about my safety and the safety of my family, thinking we might not see home again. So when we made this film, I wanted people to feel what that moment is really like, the fear, the uncertainty, and the hope that someone will be there when you need them most.”

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