This fun, fast-paced holiday ride follows two dads as they go head to head in pursuit of the last remaining parking spot at the mall.
Featuring the 2018 RS 7 and RS 3 Audi Sport vehicles, “Parking Lot” was directed by Steve Rogers of Biscuit Filmworks for agency Venables Bell & Partners.
Client Audi of America Agency Venables Bell & Partners, San Francisco Paul Venables, founder/chairman; Will McGinness, partner, executive creative director; Justin Moore, Erich Pfeifer, creative directors; Tedd Wood, copywriter; Cody Pate, art director; Craig Allen, director of integrated production; Hilary Coate, producer. Production Biscuit Filmworks, Los Angeles Steve Rogers, director; Shawn Lacy, Holly Vega, exec producers; Karen O’Brien, line producer; Alwin Kuchler, DP. Editorial Exile Kirk Baxter, editor; Paul Jarolimekproner, assistant editor; CL Weaver, exec producer; Remy Foxx, producer. VFX/Finish Electric Theatre Collective, Santa Monica, Calif. Adam Watson, VFX lead supervisor; Kate Hitchings, VFX exec producer; Scott Boyajan, VFX producer; Adam Watson, Eric Mason, Dave Damant, Kevin Jones, Brian Magarian, Phoebe Britton, Gretchen Capatan, James Aguilar, James Gorman, Mikey Smith, Nicholas Hiegel, Steve Miller. 2D artists; Dark Hoffman, digital matte painter; Corinne DeOrsay, CG supervisor. (Toolbox: Houdini, Flame, Nuke) Color Company 3, Santa Monica Stefan Sonnenfeld, colorist; Katie Andrews, color producer. Music Barking Owl Kelly Bayett, creative director/partner; KC Dossett, producer; Barking Owl, arranger; Wylie Statemen, Harry Cohen, sound designers. Music “Carol of the Bells” by Peter J. Wilhousky Audio Post Barking Owl, West Los Angeles Mike Franklin, mixer.
Blinkink has unveiled this richly imaginative stop-motion film for Dior titled A Ride of the Moon, directed by Nina Gantz and Renee Zhan, and voiced by 070 Shake. Conceived as a collaborative triumph of human craft, the film stands as a poetic reminder of the value of handmade artistry in an era increasingly shaped by automation and AI.
Inspired by classical cinema--most notably Georges Méliès’ Voyage dans la Lune--the film for Dior’s Lunar New Year campaign is a baroque-infused journey that blends cinematic language with theatrical illusion. Set within an ornate 18th-century French theatre, it unfolds as a modern fairy tale told through flamboyant design, charming stop-motion animation and playful surrealism.
The film builds around a Lunar New Year story, where a brave little horse’s showdown with a powerful, sassy adversary plays out. While cinematic and ambitious in scope, the film never takes itself too seriously, finding humor in exaggerated performances and clever theatrical tricks.
The horse character is modelled after the Dior horse charm, assembled from sewing components and brought to life through meticulous stop-motion craftsmanship. The Moon appears as a Marie Antoinette-esque figure, who brings humor through an over-the-top performance.
The production embraces old-school theatre mechanics to enhance its sense of wonder. Strings holding up clouds are deliberately visible, trapdoors open in the stage floor and sheets of translucent fabric become shimmering fountains. These visible illusions celebrate the joy of theatrical ingenuity and handmade problem-solving.
The sets were entirely hand-painted and constructed, combining flat, painted backdrops with half-2D, half-3D elements. Layered sets,... Read More
