Animation studio ROOF Studio produced this “Choose Go” campaign for Conoco consisting of six 3D-animated spots featuring uniquely designed “Goer” characters. Conceived by agency Carmichael Lynch, “Choose Go” highlights the limitless fun and adventure of filling up your car and just going. The campaign was launched across digital and social media.
Each :15 film follows a different character on a whimsical adventure that begins and concludes with a pit stop at the Conoco station–from Gilly the Goer taking a dreamy cruise behind the wheel of a bed-like automobile, to Gilbert the Goer, a tiny cheetah sporting a large sock as a sweater in a car built out of a shoe.
This ScreenWork entry is the Gilly the Goer :15.
The campaign characters were conceived by ROOF Director Lucas Camargo, who incorporated elements of stop motion, mechanical theater backgrounds, and even classic video games.
“Some folks are born with ‘go’ deeply embedded in their DNA,” said Michelle Lippman, sr. writer at Carmichael Lynch. “This campaign demonstrates a true Goer won’t stop going — especially after the last two years. They’ve developed new hobbies, made bucket lists, and won’t let a chance to hit the road or explore a new activity go unmissed again.”
“Carmichael Lynch approached us with these super imaginative scripts with surreal storylines and characters who are always on the move,” added Camargo, who’s own offbeat-character artwork served as an initial reference point for the client. “Our challenge was to figure out the visual and narrative mechanisms for getting them from point A to point Z. It was an exciting concept to push around as animators, and a blank canvas where we could have fun and create from the ground up.”
For the overall tone of the piece, Camargo leaned into a highly-stylized and simplified visual look. Creating a modular template for the films, he structured each scene like a comic strip or a GIF–together, they’d tell a larger story, or work as quick loopable content. This approach allowed ROOF to maximize production value by focusing on tactile-seeming characters and textures, and allowing the lighting and camera movement to create depth, momentum, and detail.
“I took inspiration from stop motion to evoke a handmade feeling,” said Camargo. “We wanted the world in all of these films to have the same kineticism as a clockwork mechanical theater. With the backgrounds being pulled in and out, we created a sense of motion, like the pistons and cylinders of an engine.”
