Glad Torture Tests

Glad Torture Tests

Glad Torture Tests

Glad Torture Tests

Glad Torture Tests

A series of longform ads, broadcast commercials, and end-tags demonstrating Glad's trash bag durability.

A series of longform ads, broadcast commercials, and end-tags demonstrating Glad's trash bag durability.

A series of longform ads, broadcast commercials, and end-tags demonstrating Glad's trash bag durability.

A series of longform ads, broadcast commercials, and end-tags demonstrating Glad's trash bag durability.

A series of longform ads, broadcast commercials, and end-tags demonstrating Glad's trash bag durability.

Year
-
2019

Year
-
2019

Year
-
2019

Year
-
2019

Year
-
2019

Role
-
Endtags
VFX
Clean-up
Design

Role
-
Endtags
VFX
Clean-up
Design

Role
-
Endtags
VFX
Clean-up
Design

Software
-
C4D
Adobe CC
Smoke

Software
-
C4D
Adobe CC
Smoke

Other designers
-
Brian Steckel
John Filipkowski

Other designers
-
Brian Steckel
John Filipkowski

Other designers
-
Brian Steckel
John Filipkowski

End-tag process

End-tag process

End-tag process

End-tag process

Endtag process

Given the scale of this ad campaign, the end-tags for this project required a modular approach: three broadcast spots, two longform ads, and over a dozen social and print pieces. This meant that the end-tags had to work in a variety of aspect ratios and allow for an easy mechanism of swapping box artwork for the amount of commercial versioning that was taking place.

The end-tags were built in Cinema 4D and composited in After Effects. They were designed in a 16:9 aspect ratio and with an abundance of negative space. This allowed for work to be done with only one master render from 3D - the rest of the work and versioning was done in the 2d world. Given the nature of the simple design, cropping and versioning for different aspect ratios was simply done by scaling the render to the needed size in the composite or by the editors.

Each box was custom-modelled and custom UV-maps were created based off of print artwork. This allowed for easy swapping out of artwork and for fast tweaks to materials.

The majority of animations were created from physics simulations within Cinema 4D. Two end-tags called for scent-cues of leaves to waft around the box. For these, I drew the paths of the leaves manually, as the client requested specific changes to the path of each leaf's motion; something much more difficult to alter with a more tradtional particle simulation approach.

The end-tags for this projects required a modular approach given the scale of the campaign: 5 broadcast spots, 2 longform ads, and over a dozen social pieces. This meant that the end-tags had to work in a variety of aspect ratios and allow for an easy mechanism of swapping box artwork for the amount of commercial versioning that was taking place.

The end-tags were built in Cinema 4D and composited in After Effects. They were designed in a 16:9 aspect ratio and with an abundance of negative space. This allowed for work to be done with only one master render from 3D - the rest of the work and versioning was done in the 2d world. Given the nature of the simple design, cropping and versioning for different aspect ratios was simply done by scaling the render to the needed size in the composite or by the editors.

Each box was custom-modelled and custom UV-maps were created based off of print artwork. This allowed for easy swapping out of artwork and for fast tweaks to materials.

The majority of animations were created from physics simulations within Cinema 4D. Two end-tags called for scent-cues of leaves to waft around the box. For these, the paths of the leaves were drawn manually, as the client requested specific changes to how each leaf was animated; something much more difficult to alter with a more tradtional particle simulation approach.

The end-tags for this projects required a modular approach given the scale of the campaign: 5 broadcast spots, 2 longform ads, and over a dozen social pieces. This meant that the end-tags had to work in a variety of aspect ratios and allow for an easy mechanism of swapping box artwork for the amount of commercial versioning that was taking place.

The end-tags were built in Cinema 4D and composited in After Effects. They were designed in a 16:9 aspect ratio and with an abundance of negative space. This allowed for work to be done with only one master render from 3D - the rest of the work and versioning was done in the 2d world. Given the nature of the simple design, cropping and versioning for different aspect ratios was simply done by scaling the render to the needed size in the composite or by the editors.

Each box was custom-modelled and custom UV-maps were created based off of print artwork. This allowed for easy swapping out of artwork and for fast tweaks to materials.

The majority of animations were created from physics simulations within Cinema 4D. Two end-tags called for scent-cues of leaves to waft around the box. For these, the paths of the leaves were drawn manually, as the client requested specific changes to how each leaf was animated; something much more difficult to alter with a more tradtional particle simulation approach.

The end-tags for this projects required a modular approach given the scale of the campaign: 5 broadcast spots, 2 longform ads, and over a dozen social pieces. This meant that the end-tags had to work in a variety of aspect ratios and allow for an easy mechanism of swapping box artwork for the amount of commercial versioning that was taking place.

The end-tags were built in Cinema 4D and composited in After Effects. They were designed in a 16:9 aspect ratio and with an abundance of negative space. This allowed for work to be done with only one master render from 3D - the rest of the work and versioning was done in the 2d world. Given the nature of the simple design, cropping and versioning for different aspect ratios was simply done by scaling the render to the needed size in the composite or by the editors.

Each box was custom-modelled and custom UV-maps were created based off of print artwork. This allowed for easy swapping out of artwork and for fast tweaks to materials.

The majority of animations were created from physics simulations within Cinema 4D. Two end-tags called for scent-cues of leaves to waft around the box. For these, the paths of the leaves were drawn manually, as the client requested specific changes to how each leaf was animated; something much more difficult to alter with a more tradtional particle simulation approach.

The end-tags for this projects required a modular approach given the scale of the campaign: 5 broadcast spots, 2 longform ads, and over a dozen social pieces. This meant that the end-tags had to work in a variety of aspect ratios and allow for an easy mechanism of swapping box artwork for the amount of commercial versioning that was taking place.

The end-tags were built in Cinema 4D and composited in After Effects. They were designed in a 16:9 aspect ratio and with an abundance of negative space. This allowed for work to be done with only one master render from 3D - the rest of the work and versioning was done in the 2d world. Given the nature of the simple design, cropping and versioning for different aspect ratios was simply done by scaling the render to the needed size in the composite or by the editors.

Each box was custom-modelled and custom UV-maps were created based off of print artwork. This allowed for easy swapping out of artwork and for fast tweaks to materials.

The majority of animations were created from physics simulations within Cinema 4D. Two end-tags called for scent-cues of leaves to waft around the box. For these, the paths of the leaves were drawn manually, as the client requested specific changes to how each leaf was animated; something much more difficult to alter with a more tradtional particle simulation approach.

Broadcast spots

Broadcast spots

Broadcast spots

Broadcast spots

Broadcast spots

The Torture Test campaign came as a result of the experimental online advertisement, "The Toughest Trash Bag". The ad performed better than anticipated, catching attention in the press and bringing home an award from the Cannes Lions festival.

Glad came to FCB looking to follow up on the campaign with three broadcast T.V. spots and a higher production value.

In addition to designing the end-tags for each spot, I aided with the visual effects and design tasks, which consisted of title design, motion tracking, the removal of the safety rig for the "Apartment Leap" spot, and compositing.

The Torture Test campaign came as a result of the experimental online advertisement, "The Toughest Trash Bag". The ad performed better than anticipated, catching attention in the press and bringing home an award from the Cannes Lions festival.

Glad came to FCB looking to follow up on the campaign with three broadcast T.V. spots and a higher production value.

In addition to designing the end-tags for each spot, I aided with the visual effects and design tasks, which consisted of title design, motion tracking, the removal of the safety rig for the "Apartment Leap" spot, and compositing.

The Torture Test campaign came as a result of the experimental online advertisement, "The Toughest Trash Bag". The ad performed better than anticipated, catching attention in the press and bringing home an award from the Cannes Lions festival.

Glad came to FCB looking to follow up on the campaign with three broadcast T.V. spots and a higher production value.

In addition to designing the end-tags for each spot, I aided with the visual effects and design tasks, which consisted of title design, motion tracking, the removal of the safety rig for the "Apartment Leap" spot, and compositing.

The Torture Test campaign came as a result of the experimental online advertisement, "The Toughest Trash Bag". The ad performed better than anticipated, catching attention in the press and bringing home an award from the Cannes Lions festival.

Glad came to FCB looking to follow up on the campaign with three broadcast T.V. spots and a higher production value.

In addition to designing the end-tags for each spot, I aided with the visual effects and design tasks, which consisted of title design, motion tracking, the removal of the safety rig for the "Apartment Leap" spot, and compositing.

The Torture Test campaign came as a result of the experimental online advertisement, "The Toughest Trash Bag". The ad performed better than anticipated, catching attention in the press and bringing home an award from the Cannes Lions festival.

Glad came to FCB looking to follow up on the campaign with three broadcast T.V. spots and a higher production value.

In addition to designing the end-tags for each spot, I aided with the visual effects and design tasks, which consisted of title design, motion tracking, the removal of the safety rig for the "Apartment Leap" spot, and compositing.

Longforms

Longforms

Longforms

Longforms

Longforms

As part of the campaign, two long-form advertisements were created in form of short film, which lived on Clorox's website. The broadcast, print, and social ads encouraged viewers to visit the website.

As with the broadcast spots, I was tasked visual effects clean-up and designing and animating UI elements that were used for POV "dog-cam" footage as well as call-outs demonstrating the trash bag's capabilities.

As part of the campaign, two long-form advertisements were created in form of short film, which lived on Clorox's website. The broadcast, print, and social ads encouraged viewers to visit the website.

As with the broadcast spots, I was tasked visual effects clean-up and designing and animating UI elements that were used for POV "dog-cam" footage as well as call-outs demonstrating the trash bag's capabilities.

As part of the campaign, two long-form advertisements were created in form of short film, which lived on Clorox's website. The broadcast, print, and social ads encouraged viewers to visit the website.

As with the broadcast spots, I was tasked visual effects clean-up and designing and animating UI elements that were used for POV "dog-cam" footage as well as call-outs demonstrating the trash bag's capabilities.

As part of the campaign, two long-form advertisements were created in form of short film, which lived on Clorox's website. The broadcast, print, and social ads encouraged viewers to visit the website.

As with the broadcast spots, I was tasked visual effects clean-up and designing and animating UI elements that were used for POV "dog-cam" footage as well as call-outs demonstrating the trash bag's capabilities.

As part of the campaign, two long-form advertisements were created in form of short film, which lived on Clorox's website. The broadcast, print, and social ads encouraged viewers to visit the website.

As with the broadcast spots, I was tasked visual effects clean-up and designing and animating UI elements that were used for POV "dog-cam" footage as well as call-outs demonstrating the trash bag's capabilities.

Longform graphics

Longform graphics

Longform graphics

Longform graphics

Longform graphics

As part of the longform "Apartment Leap" spot, the client requested an animated 3d "blueprint" sequence to demonstrate the stunt that takes place in the film.

The request came about at the tail-end of post production and the process of designing these graphics were highly iterative. Because of this, I had to omit the traditional approach of boarding the sequence out before executing.

An additonal last-minute request was made to have animated call-outs demonstrating the toughness of the bag appear in the blueprint animation shortly after. These were designed and animated by myself at my own discretion as a result of the fast-approaching deadline.

The result of all of this was a series of fully-animated sequences so the client could view more polished rough-cuts with no work-in-progress sections.

As part of the longform "Apartment Leap" spot, the client requested an animated 3d "blueprint" sequence to demonstrate the stunt that takes place in the film.

The request came about at the tail-end of post production and the process of designing these graphics were highly iterative. Because of this, I had to omit the traditional approach of boarding the sequence out before executing.

An additonal last-minute request was made to have animated call-outs demonstrating the toughness of the bag appear in the blueprint animation shortly after. These were designed and animated by myself at my own discretion as a result of the fast-approaching deadline.

The result of all of this was a series of fully-animated sequences so the client could view more polished rough-cuts with no work-in-progress sections.

As part of the longform "Apartment Leap" spot, the client requested an animated 3d "blueprint" sequence to demonstrate the stunt that takes place in the film.

The request came about at the tail-end of post production and the process of designing these graphics were highly iterative. Because of this, I had to omit the traditional approach of boarding the sequence out before executing.

An additonal last-minute request was made to have animated call-outs demonstrating the toughness of the bag appear in the blueprint animation shortly after. These were designed and animated by myself at my own discretion as a result of the fast-approaching deadline.

The result of all of this was a series of fully-animated sequences so the client could view more polished rough-cuts with no work-in-progress sections.

As part of the longform "Apartment Leap" spot, the client requested an animated 3d "blueprint" sequence to demonstrate the stunt that takes place in the film.

The request came about at the tail-end of post production and the process of designing these graphics were highly iterative. Because of this, I had to omit the traditional approach of boarding the sequence out before executing.

An additonal last-minute request was made to have animated call-outs demonstrating the toughness of the bag appear in the blueprint animation shortly after. These were designed and animated by myself at my own discretion as a result of the fast-approaching deadline.

The result of all of this was a series of fully-animated sequences so the client could view more polished rough-cuts with no work-in-progress sections.

As part of the longform "Apartment Leap" spot, the client requested an animated 3d "blueprint" sequence to demonstrate the stunt that takes place in the film.

The request came about at the tail-end of post production and the process of designing these graphics were highly iterative. Because of this, I had to omit the traditional approach of boarding the sequence out before executing.

An additonal last-minute request was made to have animated call-outs demonstrating the toughness of the bag appear in the blueprint animation shortly after. These were designed and animated by myself at my own discretion as a result of the fast-approaching deadline.

The result of all of this was a series of fully-animated sequences so the client could view more polished rough-cuts with no work-in-progress sections.