The average family spends over 250 hours on screens during the holidays. So HP is helping families get real in its latest spot from Goodby Silverstein & Partners (GS&P). Directed by Michel Gondry via production house Partizan, the film rewrites the classic carol “The 12 Days of Christmas,” showing a young girl watching a surreal screen-obsessed world of “teens-a-texting” and “lads-a-liking.” But with a little help from a printer, the world is transformed into 12 days of real time, with “sisters spinning” (paper dreidels), “fellas flying” (paper airplanes) and something called “oreejami.”
“When we go to plays, movies and doctors’ offices, we’re asked to shut off our phones. What if we shut off our devices for a while over the holidays and spend some quality time with our families?” said Rich Silverstein, co-founder and co-chairman of GS&P. “The last thing you want to do is tune out during the holidays. It’s time to spend real quality time with the family.”
Beyond the film which is titled "Print the Holidays" Gte Real," HP also partnered with artists and influencers to develop over 250 hours of printable activities–from exclusive comic books to original coloring pages, holiday bingo, Star Wars and Frozen content from Disney, recipes from AllRecipes.com, and even a paper airplane designed by Gondry himself. The “Print the Holidays” content makes it easier for families to balance screen time and real time.
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Credits
Client HP Agency Goodby Silverstein & Partners Rich Silverstein, creative co-chairman and co-founder; Will Elliot, creative director; Daniel Righi, Kurt Mills, associate creative directors; Sydney Lindsey, copywriter; Jelena Kolomejac, art director; Ryan Self, design director; Pedro Zuccolini, Nero Chen, designers; Leila Gage, director of broadcast production; Stephanie DeNatale, executive producer; Rachel Saxon, broadcast producer. Bonnie Wan, head of brand strategy; Marisa Perazelli, sr. brand strategist; Briana Patrick, brand strategist. Production Partizan Michel Gondry, director; Raffi Adlan, producer; Lisa Tauscher, managing director/exec producer; Kelly Martin, head of production; Shawn Kim, DP; Maxwell Orgell, production designer; Florence Fontaine, stylist. Production Services Company Division Productions. Editorial Exile Kirk Baxter, editor; Rex Lowry, assistant editor; CL Weaver, exec producer; Michael Miller, post producer. Color/Graphics/VFX/Finishing The Mill LA Glynn Tebbutt, creative director/VFX supervisor; Jason Mortimer, CG lead & CG FX artist; Lenz Kol, Daniel Thuresson, Nicholas Tayler, Roman Yavorsky, Dylan Strieff, Scott Johnson, compositors; Matthew Choy, CG artist; Jacob Bergman, animation supervisor; Andy Wheater, matte painter; Sasha Vinogradova, Maxim Goudin, graphic design/art directors; Adam Scott, sr. colorist; Blake Rice, Jessica Amburgey, color production; Erin Hicke, sr. VFX producer; Dan Roberts, exec producer; Jena Bodel, production coordinator. (Toolbox: Flame, Nuke, Houdini, Maya, Arnold, C4D, After Effects) Music/Sound Squeak E. Clean Studios, Los Angeles & Sydney Sam Spiegel, executive creative director; Lydia Davies, Lucas Cantor, arrangers & composers; Karla Henwood, executive creative producer (Sydney); Christina Carlo, executive producer (L.A.); Drew Fischer, sound designer & mixer; Lena Gabriel, choir director; Chelsea Ramsden, licensing manager; Blade Thornton, producer; Colby Smalzel, production coordinator. Audio Post Squeak E. Clean Studios, Los Angeles & Sydney Drew Fischer, mixer.
Directed by Sam Gainsborough via Blinkink, this film from agency Uncommon Creative Studio transforms video game Clash Royale’s beloved characters into an extraordinary balloon-built world, where more than 10,000 real twisted balloons were used to forge every aspect of what you see on-screen. In this surreal universe, the balloon nature of the characters is never questioned--it simply is. The Goblin trembles in genuine fear. The Barbarian rages with helpless fury. The King, confronted with an impending explosion, quietly accepts his fate.
To bring this ambitious vision to life, Gainsborough involved Airigami, a team of expert artists who create large-scale installations, illustrations, and experiences entirely out of balloons. Each character was meticulously handcrafted to ensure immediate recognizability while embracing the uncanny qualities of their inflated counterpart. Through extensive pre-production, the team refined not only the likeness of each figure, but also the physical behavior of the balloons, carefully designing how they expand, where pressure builds, and how their forms distort under strain.
Working across multiple scales, the artists achieved remarkable levels of detail, allowing for both intimate character moments and large-scale visual impact. The cinematography also draws heavily from the horror genre, using extreme close-ups, dramatic angles, and dolly zooms to build tension and amplify the expression of each puppet.
As the pressure mounts, the characters swell beyond their limits; their balloon forms pushing against the letterbox frame itself, visually reinforcing the escalating tension while also nodding to the film’s underlying absurdity. The climactic moment delivers a visceral payoff: balloon explosions captured at... Read More
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