Three dimensional animations have a significant change in the modern world of 21st century. Initially, it is obvious to position that contemporary animated characters created by Disney, Pixar and DreamWorks studios, have been appreciated at the maximum. This sort of digital human elements appear occasionally in several fields such as, TV channels, films, for medicine discoveries and training practices for inspiring and informative reasons. The rise of digital animation in advertising responds in different problems especially with younger audience. To accomplish that, agencies by the used of realistic and visual messages encourage consumers to shape their own opinion about different deals. Due to their massive effectiveness of interest, advertising agencies spent their maximum time to produce ideally characters and environments. Additionally, the revolution in the digital realistic representations of human celebrities, gives an attempt for bigger expectations. Digital creatures, inspired from real humans are particularly convincing through their imaginative action in the story and their forceful message. ”The tone of the messages should support the topic, the desired response, and the target audience” (Jones, Bartlett, 2010: 245). This semiotic evidence provides the idea for the overall strategic of an advert that communicates with the aesthetic elements of the concept and the engagement of the brand. Creating enhance attention that presenting values where a consumers wants to see and share, is one of the major factors to satisfy the audience. Specifically the term of persuasive encourages the viewers to memorize different meanings and values. Also, considering and memorizing a concept gives the opportunity to the audience to fulfill their missing feelings. This type of persuasive communication is able to transfer the message thru symbols, signs and sound. Characters and environments inspired from natural incidents, give usually similar messages and facts from real life. However based on their competitive motivational messages, rarely introduce motions that respond to the negative part of the adverts. Their representations convey a reason of why valuable personalities take place in various animated concepts. By analyzing specific angles on particular digital animated adverts, provides the forceful of an extensive research that introduce the significance of information about the technique’s level of contemporary advertising.
The use of 3D human figures film and its influence on advertising
1.2 Entertainment, the main formula
”The animation does not attempt to fool the viewer into thinking anything is real; it is meant simply to entertain ” (Parent, 2012, 28). Entertainment is a primary form of using animation with its first aim to be represented in movies, cartoons, campaigns and short videos. However, animation is used to represent things that doesn’t exist or happen in real life and bring some magic and fantasy. The most known use of 3D digital animations for entertainment are Disney films by Pixar Company, which are stories that produce for younger people and children. Toy Story is the first full length, three dimensional computer generated cartoon by Pixar in 1995. The early Disney movies used the traditional method of animation which used frame by frame, made with drawings and visual illustrations. Today, movies and advertising campaigns are created using computer animation and allow the creators to make the characters and the environment look more realistic.
Due to the powerful advances in computer animation, agencies have the opportunity to create without limits effective 3D digital animated campaigns. Without a doubt animation and animated campaigns is used in commercials to give a feeling of reality and aliveness. One of the main benefits of using animation in advertising is the ability of animators to produce scenes with environment and worlds that could not accessed by a live action camera crew. ”Animation allows the creative team to devise scripts that push the boundaries of their audience’s imagination” (Burtenshaw, Mahon, Barfoot, 2011, 24). Digital animation industry can achieve the most unique special effects and can be shown in the most creative and unusual environment. Furthermore, products that promoted with incredible features that help lots of people usually thru media, websites and flash banners are not hold the audience attention for a long enough time. By promoting the message and the benefit of a brand with an innovative minute-long 3D animated campaign that captures the audience attention, the probabilities are more to engage a potential costumer to learn more about what the company offers. Most of the advertising agencies can have a very high level of quality campaigns which are created in a very short amount of time. Instead of advertising agencies computer animation studios have aim for the perfect projects as they specializing in animation and films which are medium sized and follow solid working steps in order to provide the fast turnaround needed. In addition, a form of activity that holds the attention and the interest of people mind that gives pleasure and delight is entertainment.
1.3 Case study
The case study that would be analyzed is about World Cup 2014, based on Nike’s products entitled ‘Risk Everything: The last game’. (Fig, 1) ‘The storyline is reminiscent of the 1996 ‘Good VS Evil’ campaign for the Euro 1996 tournament” (Madison Liston, 2014). (Fig, 2) The particular campaign presents a team of glamorous footballers attacking a team with forceful demons. The newest Nike animation of 2014 encloses a number of fundamental themes that are carried out from beginning to the end. One of the elements that the viewer may notice is references to cartoon creatures and human characters from adventurous movies. Cartoon characters are used to create a level of imaginary in advertising that puts the audience in a positive mood.
The ‘Risk Everything’ Nike advert is a project that has been produced by Wieden and Kennedy agency where they use similar feel of the animation movie of ”The Incredibles” by Pixar animation studios. http://www.huffingtonpost.co.uk/2014/06/09/nike-world-cup-advert_n_5475667.html .
The campaign features the footballers, Cristiano Ronaldo, Wayne Rooney, Andres Iniesta, Neymar Jr, Franck Ribery, David Luiz, Tim Woward and Zlatan Ibrahimovic. Although the spot reveals a mad scientist which has taken on the team and he created clones trying to remove riskless football and focus on effectiveness and perfect results. The famous footballer Ronaldo returns to save the game by showing to the dream team the idea and the profits of risky football and how they can beat the autonomous clones. The idea behind ‘The Last game’ is to show that Nike believes that a football game should be wonderful and adventurous. Nike’s Chief Marketing Officer Davide Grasso identified, ”having the confidence to take risks is absolutely vital in football” (Madison Liston, 2014). The author remind us the FIFA World Cup in Brazil and that life is full of risks and if we don’t take often risks we will never know what greatness we can achieve.
The animation advert, which is 5 minutes and 7 seconds long, features a 3D computer animation technique and has similar style with the movie ‘The Incredibles’. This sophistication generates a great aesthetic and makes it feel more like Pixar movies than a campaign for Nike. The story begins with the imposing black on white symbolic text: ‘RISK EVERYTHING PICTURES’PRESENTS’THE LAST GAME.” After crediting the soundtrack, the story begins with the statue of Christ the redeemer in Brazil. The camera suddenly zooms in the town and young guys play risky football in different parts of their neighborhood. While the young team playing football a guy throw the ball to another guy which is changed to the footballer Zlatan Ibrahimovic. From the angle of the mad scientist, reveals the idea of uniqueness and taking risks is sometimes unusual. ‘Flawed 76% probability of missing the target, reckless 50% chance of failure” Mad Scientist. Although, the scientist in this part of scene demonstrates the clones without individuality as with that way, look more efficient (Fig, 3). ”Animated characters create for the viewer a positive association between the product and the advertiser, it’s really a very clever way to sell a product” (Shires, 2001:22).
(Fig, 3) (Fig, 4)
Because of the above evidence, there is a particular scene with the football clones which is reflected similarly with a scene in the animation movie of ”The Incredibles” which Edna Mode the female short scientist shows the comfortable and the powerful abilities suits to Elastic girl (Fig, 4). In the advert the tall and skinny mad scientist is standing and shows with his hand the future of football (Fig, 3). Opposing with Edna that is explaining the benefits of the new costumes with a fashionable and stylish cigarette holder of 1970s (Fig, 5). In addition the environment in both scenes is lightly bright while in the 3Dimensional animation campaign, the presentation happens in a huge, dark theatre with an enormous cinematic digital screen that displays the cloned creepy footballers (Fig, 3). In contrast with the campaign, the demonstration in the movie is in a giant science room with a high mirrors and a classical interior design (Fig, 4).
In the beginning of the spot, Ronaldo while watching the disaster of real football and the autonomous, cold-hearted clones removing all risks taking from the game, he sees a child playing on the street and he is reminded of his passion for soccer. In spite of that situation, the town is full of visual billboards with the undesirable text of ‘RISK NOTHING’ (Fig, 6). A passion for sport is a main fact that a mad scientist wants to terminate in every footballer. The football player Ronaldo hearing the scientist in the TV says about the human footballers were not something important and nobody cares about them, he compares his current state with his previous adventurous football games and decides to take action. Likewise the visual image with the mad scientist that was talking about the epic footballers (Fig, 7), Mr. Incredible at the beginning of Disney’s movie was interviewed for his brave life as a hero (Fig, 8)
(Fig, 6) (Fig, 7
1.5 The aesthetic element of motivation
”When consumers see negative information in an ad, they tend to infer that the company is honest, a belief that adds to source credibility” (Hoyer, Maclnnis, Pieters, 2012: 139). The authors with the specific sentence imply that campaigns that show negatives factions of some unwanted products represent with direct way the agency’s liability. For the particular campaign the ”unwanted products” are the engineered grey clones that will never ‘Risk nothing’ to play football. On the other hand, by providing beneficial reasons to consumers, thru the advert encourages them to be more trustful about a particular brand. Specifically, in Nike’s spot, Ronaldo motivates the fabulous dream team to ‘Risk Everything’ instead of ‘Risk Nothing’. ”We must rise up’remember what makes you great, you are not afraid to take risks. You play like it’s a game; they play like it’s a job. You risk everything to win, everything. There’s no greater danger than playing it safe” (Ronaldo). Due to that fact, audience may get an inspiration and motivation from him and his speech while is the hero of the advert. ”Marketers also can use values to understand the attributes that consumers in a particular segment may find important in a product and that may motivate them to choose one brand over another” (Hoyer, Maclnnis, Pieters, 2012: 392). Nike’s commercial campaign encouraged people to be stronger, braver and play with passion and dynamism in any game. Although, the method of impulse people, do something adventurous makes the brand and its product more unique. This could happen because Nike is using a great process and special value to motivate mainly young people and improved their miserable life to something thrilling.
”The tone of the message is how you use the aesthetic elements-imagery, lighting, and sound-to provide an atmosphere that reinforces the message appeal ” (Jones, Bartlett, 2010: 245). On the occasion of this quote, the visual essentials that characterize the filmic communication of Nike’s campaign are the atmosphere technics and the accessibility of the message that is also relative. In the middle of the advert, the superstar human athletes after their decision to challenge the soulless clones, looking and wearing a pair of Nike shoes and their individual outfits (Fig, 10).
Wieden & Kennedy to illustrate the mystery and the adventurous story of Nike’s risks show the team leader Ronaldo holding a torch resembling the movie of National Treasure with Nicolas Cage (Fig, 11) (Fig, 12). National Treasure is an American movie of 2004 produced and released by Walt Disney Pictures.
(Fig, 11) (Fig, 12)
Another significant aesthetic element between the campaign and the movie is the art direction of a particular part in the Nike’s campaign. The products of Nike’s brand world represent the legendary treasure for the footballers, as worldwide treasure. The atmosphere had a historical theme with ancient statues and the overall look reminiscent of a museum. (Fig, 13) Although, while the characters walking thru the place and going up to the massive stairs, left and right of them, are some colossal and gorgeous footballer sculptures that demonstrate the effectiveness of risky football. A similar visual in the film, is when Benjamin Franklin Gates (Nicholas Cage) with his partners discovers the Templar Treasure underneath of an old north church. (Fig, 14)
”The travelers enter a room filled with golden goblets, suits of armor, and ancients relics. Ben lights a torch in the middle and they see that the room is truly enormous, filled with tens of thousands of artifacts”. http://www.imdb.com/title/tt0368891/synopsis?ref_=ttpl_pl_syn
Relating the campaign with the movie aspects we can realize that in the animation spot of Nike’s the visual effects are more shine and clear than the movie. In addition, as sharp is the meaning of the message of the story; powerfully valuable is the connection between the message behind the logo of the brand and its visual elements.
1.6 Nike’s logo position in the campaign
”A logo’s graphic means nothing until positioning gives it meaning” (Berman, Blakeman, 2009: 135). The authors state the importance of a logo instead of memorable, need a unique method to set a specific product stand out. Not by just forming somewhere the logo in the concept, but by using the right appeals in a specific part of the campaign to fit and work for the campaign’s needs. For instance, the branded logo has to look perfectly meaningful to be understandable by the audience and present the reason that appears in specific visuals. In spite of that fact, they were referencing the concept that a campaign create its own look and ”connect the product” (Berman, Blakeman, 2009: 77) and a logo with the brand benefits, or create a voice of a statement that can be reinforced by different characteristics or essentials themes that provide a clear message, such as illustrations, photographs or animations. The above relationship between the logo information has a final aim to getting inside the heads of the people who might have an interest about the products. Usually the majority of the target audience has a clear opinion about the brand’s products, but others might need the advantage of a campaign to focus and compare them with other brands in the competitive market place. To consider more to those evidences, Nike’s animation campaign after the thrilling motivational speech of Ronaldo, shows how much emphasis gives to the logo identity. The shot where the Nike’s logo surprisingly appears many times is when Cristiano Ronaldo goals with an exciting way (Fig, 15). This powerful part of the advert presents the benefits of the brand with the support of the logo. In the final part of the spot every shot had the text of ‘Risk Nothing’ when suddenly the fabulous footballers wear the suits and a pair of shoes , every billboard changed to the Nike’s symbol as a representation of ”Risk Everything”. Other iconic frame that shows the dynamic of Nikes is the moment where Ibrahimovic hit the ball above the clones like a bird in a slow motion time (Fig, 16). Also, the Neymar character with the pair of shoes moves his legs in such a very speedy way and the ground smokes (Fig, 17). In order to achieve this extension of the brand the creative department produced those magical ways to catch the audience attention and inspired people positively, instead of just buy the product.
‘Reality’ in creating engagement and communication through Animated figures in advertising
2.1 The value of detailed characteristics
As the dynamic of realistic and natural human animations have become a useful design in recent sport campaigns for products and events, their concept become more profit to creating a new desire to the world. An impressive and attractive short animation video can be displayed into a presentation, TV, cinema and nowadays-in social media to explain the concept in an interest and sophisticated way to entice costumer interest. ”Advertising can have a very high level of quality but is created in a very short amount of time” (Beane, ebook). The author notes that a commercial advert can inform, describe or represent the dynamic of an object within a specific period of time, no matter what brand or organization it is developed. By providing short animated spots, brand or organizations are able to provide a great deal of information with believable and positive responses. Also that has an effect of grabbing attention and keeping the best quality. A 3Dimensional human animation in advertising can utilize an all-3D animated form with mixed-media visual effects for the final look project. ”There is no question that the benefits of animation have not only been reaped for entertainment purposes, but also by advertisers and marketing companies” (Exton, 2012). The author particularly implies the profits and the reasons, why animations instead of offering entertainment in general could influence agencies. At this point is necessary to say that agencies inspired from previous figures improve practically their knowledge to explore deeply the detail of a character and finalize a high level skilled new figure. This has aim of effectiveness while animated digitals present a smooth and simpler character and environments in commercials with greater marketing success than live action spots.
”Characters and stories could even become associated with your brand and help to enhance brand image” (Warren, 2014). According to that evidence, three are the brand values which animation in advertising is used and is effective. Firstly is the announcement of a brand character; secondly is the availability of the product as some interesting object with unique features and thirdly the reason that makes the difference from other products in the market as what make its ownership desirable. Adverts most of the time show what the audience can do with the product or inform them how to perfectly be a part of a brand. Also they provide the purpose of an organization and what the benefits of it. Campaigns attempts to include these functions as direct method as possible. Most of the 3Dimensional animated campaigns in the 21’st Century attract attention because are new inventions to the world, as the 3D technological advances have been improved dramatically and grown day by day. We always need a new idea or a unique approach to catch our attention. ”Computer technology has not only speeded up the animation production process but has enlarged the field of animation into a much broader range of media than movies for cinema, television or video (Peacock, Kuperberg, 2002, 26). Due to that fact, not only film productions use the process of modern animation but also the advertising production agencies use the CGI method, which is Computer-generated imagery. The term Computer-generated imagery refers to computer animation dynamic where companies produced instead of 2D animations, create 3D computer graphics and special effect such as animated characters. Human animated characters very often in adverts have very similar characteristics with the anthropomorphic cartoons in animation movies as for example ”the adventures of TINTIN” (Director) and ”The Polar Express” (Director) which are detailed formed and very close to a real human morph. In addition, ”animated characters can be used, reused, reimagined in any number of ways” (hubbub webiste) Due to that evidence, advertising agencies develop various of animated human figures to have the flexibility of using and explore more elements about their innovative creatures without any need for further casting. Also, in order to be presented as the face of the advertisement, it is important to reveal that animated figures are not just random characters in short animation stories. They are evidence of a deep research between clients and creators were aim the higher innovation and investigation of the quality of the commercial that help people to understand the way towards of the proposal of the product or service.
2.2 Case study:
London Olympics 2012: Stadium UK
The advertising agency Rainey Kelly Campbell Roalfe Y&R and the animation studio Passion Pictures came into contact with a script for the Olympic games, 2012 event as they mentioned. ”Animation enabled us to deliver to this brief and helped us to create something really special for the BBC’s London 2012 campaign” (BBC 2012 marketing head Louisa Fyans.) BBC’s marketing head Louisa Fyans indicates the dynamic of animation that support the initial idea of the advert to be something powerful to prosper the enormous theme of the Olympic games, whereas to reflect the UK’s Olympic broadcaster. The animated short video of 2 minutes and 40 seconds does not take a lot of time to introduce the overall concept to the viewer as the agency had tried to give emphasis on ”national pride”(BBC website) and entertainment by representing the UK as one giant stadium. Since the beginning of the Olympic games that began over 2,700 years in ancient Olympia in Greece, every ethnic group of athletes and audience enjoy together the special event with passion and excitement.
To begin with, the animated spot, introduce United Kingdom, which is seen and transformed as a colossus stadium including Olympic athletes training in different breathtaking locations and environments. The aim of the BBC’s marketing campaign was to remind people that whenever they are and whatever they are doing they could watch the Olympic Games event in UK’s Olympic broadcaster. The main impression a viewer may get from watching this Olympic commercial is that it presents thrilling surroundings and dynamic athletes. Those facts have approach to emphasize the major role of BBC and the massive dimensions of Olympic games. Also, were created to introduce to the world, a touch of different aesthetics of Olympics and inform them about the UK arena that everything could happen inside of it. The stunning landscapes and the believable athletes creatures preparing and competing in British atmosphere showing how every corner of the country is involved in the sporting event including high mountains, cyclist racing in town; swimmers in Scottish lochs; and even sprinters in terraced streets; Faced with these places, the athletes characters controlling their body to keep them going and achieve their mission. ”We wanted to achieve a certain amount of stylization while maintaining a strong level of appreciation for the athletes’ remarkable dedication and level of skill ” (campaign live). In order to express the positive energy and the exciting experience of the Olympic games, the creative department of Passion pictures chose to focus in deciding how best to represent the athletes. On the other hand, they avoid producing superheroes characteristics because otherwise the short animation could give a different feeling of impression. As well as the characters may not represent the major importance of the Olympic games if they were made of cartoony elements. As they mentioned their aim was to create animation characters with extra powerful skills but at the same time to look more acceptable and realistic to the audience. Usually, people think the smooth 3D animation figures are not a unique creation to inspire, while the digital animated characters have no feelings as they were done on a machine. ”Computer-generated human characters sometimes have an unfeeling, ghostlike look about them” (Ratner, 2012, 1). In respond to that fact, the characters in the ”Stadium UK” were based on a deep research of human anatomy to emphasize in detailed the human body thru the several activities of the athletes. In different parts, the advert demonstrates clearly the solid structures of the figures that represents and stabilizes the convincing models. For instance, in the middle of the advert, after the hit of the gun the athletes on the street running but the video shows them in a slow motion to give time to the audience to concentrate in the details of the runner’s body shape (Fig, 18). Also another significant part is with the male athlete that performs gymnasium with the levitating steady rings on the air. (Fig, 19) In both locations the background displays the town’s architecture and around them is the enormous Stadium.
Moreover, the visuals (Fig, 18), (Fig, 19) express the representation of the athlete’s muscles that signify the high skills of the realistic and the dynamic role of the athletes in the event and the great level of conviction of the Olympic spirit. Although, the Stadium backdrop is a unique element that simplifies the audience and proposing the idea of BBC that wherever you are in the UK you can still feel, as you are insight the stadium watching the games. By the lowest level until the highest location in the campaign there is some particular part were the idea of BBC reveal the overall concept. Thru several competitions in the Olympic Games, athletes, winners and losers become well-known to the world of sports even if they only achieve to participate in the vast event. ”The Olympic games is about the coming together of people to celebrate our best athletes and it was as important to have a sympathetic theme for the losers as it was for the winners ” (BBC, 2012). The theme of the campaign with countless sport montages was not created only for the winners but also for the losers, as the creators’ mentioned. They developed it to emphasize the importance of the audience as the significant values of the athletes.
”By influencing our worldviews, advertising is likely to generate some type of change in the way we think and feel” (Sheehan, 2013: 2). The author implies the effects of the messages for a certain amount of people thru a specific impression of developing specifically planned meanings. Due to that evidence, from different angles adverts provide meanings to inspire the audience to think differently and make them realize the communication between the brand and the product or event. For example in the ”Stadium UK” advert while the accompaniment of the music rise up gradually, the female athletes performed their skills in the marathon road (Fig, 20). When the train goes over the road and arrives next to them, some passengers enjoy the moment by watching the special moment from inside of their window. The specific scene instead of presenting the passengers as a part of some audience of the Olympic games in London provides this scene to make the viewer become an exclusive passenger of the train without notice it and feel the astonishing experience of the athletes in a very close distance. The above effect is a method that agency use to emphasis the meaning of their idea. The benefit of watching the events and the sporting moments thru a historical broadcast is the concept that Olympic games with the support of BBC allow people to have the impression of being part of the Games in contrast with other channels. Also, the campaign unveiled different places that portray BBC’s records of moments that were presented during the Olympic games. From different angles the audience could realize the role and what the broadcast had showed during the event. In the animated short advert are some parts where BBC displays breathtaking locations that nobody independently could record. The scenes are, a BMX rider training at the edge of a cliff (Fig, 21), Cyclists racing inside of a surface mining (Fig, 22) and the giant diving platform (Fig, 23).
”Subjects that deal with scale such as large landscapes, space, and underwater films are sensational in this format” (Hayes, Webster, 2013, 65). As the authors imply, massive subjects in a visual image communicate with an illusion of complete engagement in the animated films while they use of the audience’s minor vision to these amazing experiences. More specifically the different viewpoints (Fig, 21), (Fig, 22), (Fig, 23) create a believability that athletes use the space of London within huge contractions and places to give the consciousness of unbelievable performances and a certain amount of entertainment. The enormous unique landscapes have the effect of satisfying the audience’s vision and immersing them within the image. On the edges of the high exterior places the athletes’ bravery is revealed to display a new way of passion for risks and self-confidence. These evidences rather than presents eye-catching visuals; are reflected to the audience perception and inspire them to join the event and make them feel, as they are Olympic athletes.
Signifying identity in animated figures in advertising
3.1 The identity of animation in other industries
The agencies Rainey Kelly Campbell Roalfe Y&R and Wieden and Kennedy to develop a direct way of simplicity and effectiveness they approach the audience to know more about their identity and their campaigns. While their artistic sense of bring a script for something unique to the world, intensify them to explore more the current methods of human animation in advertising. Even in other important industries such as meteorology, aerospace, automotive, medicine and architecture they use similar methods of contemporary animation that include human elements. The author Kathy Furgang implies, ”there is a need for accurate recreation, simulations, models and designs” (Furgang, 2013: 44, 45). For example, new medical practices demonstrate the dynamic of computer animation for research and training purposes. As well, the digital animation is useful for educational reasons by showing to the public the factions of the inside of human body. Different diseases can harmful physical changes; therefore within the use of animations, patients can see clearly why surgeries may be needed or how medications work to eliminate the symptoms. This method is sometimes used even on television and online commercials to advertise treatments such as the campaign ”Inspiring Hope” which is a project to inspire doctors explore about the treatment possibilities of a heart implant simulator and make them realize the feature and benefits of the product.
3.2 Significations, reinforce the concept
Although, the ”Inspiring hope” advert relates with the campaigns of, Nike’s the last game and ”Stadium UK” because their characters instead of presenting a human physical appearance are also the dynamic element of their shape performing motions. Their acting expressions play a significant role in conveying a meaningful action to set a point of a unique awareness to the viewers. For instance, ”in Tangled the character motions, gestures and expressions reinforce the influence of the shape language as a unifying concept” (Carter: 2013). The author indicates in his analysis, that within the visual characters and their identities were expressing different meanings to provide and extend their body language. Although, the human animated characters prove to the audience the authenticity of the concept while their movements appeal to signify the action and the consequence of the story.
This kind of communication enables to the industry to transfer within visual effects and thru significations to make the concept understandable with a purpose to persuade the consumer about the desirable product or service in the competitive market. In the campaigns of Nike, of Olympic games and of the Simulia abaqus heart simulator after the middle of the spot, is significant to analyze the facial and body expression of the characters as they compose a basic element that connects their personality with the brand. Between the middle and the completion of the adverts, the supportive tempo of the music become more intensive and louder while the visual characters change their movements positively in the second part in contrast with the first part where
the heroic characters presents the dramatic action of the story. The scene with Neymar figure (fig, 24), presenting his enthusiasm to the audience about his team’s winning situation in the football arena.
Also, his positive reaction to holding the smartphone and taking a self-portrait photograph with the autonomous clone, supports the idea of presenting a character that extents his body parts to give a brighter and successful opinion to the viewer. The fact that he uses the phenomenon of self-portrait photograph identifies the differences between the human winner and the clone loser character. This unique extension with his hand of capturing the moment, not only embodies his achievement of being the champion but also to convince visually the value of wearing the Nike’s newest products. As well as, to emphasize his winning position uses his hand gesture to flash the (V) letter and demonstrate his team victory. Simultaneously, the background depicts another product of Nike, a ball that is also part of the photo. Another relevant expression is when the last 20 seconds of the advert the legendary Ronaldo (Fig, 25), by having his body remains into a frontal plane position in respond to his exciting situation presents the benefits of wearing the suits and the pair of shoes. This scene notifies the audience with direct way to play football exactly as the Nike’s team for a guaranteed success. His right hand pointing the footballers emphasizes and reinforces their triumph but also verifying his motivational speech. These hand gestures combinations in both visuals are similarly reflected with the example of the ”Inspiring Hope” animation. There is a part by the ending of the animation that combines the appealing of the human characters position to create an atmosphere for the glad message of the product.
To specify, due to the positive and beneficial use of the heart’s simulator, where the young girl feel her heart beats well again, present her pleasure with a smile while she run towards to the doctor and embrace him (Fig,26). This moment indicates the dynamic relation between the patient, the doctor and the simulator. As she was staring at him, the scene becomes focus on her facial expression and the doctor’s hand gesture position that demonstrates their both positive satisfaction. Therefore, leading the action with her eyes, release the deeply sadness from the beginning of the animation to enthusiasm expression. Their embracing is highly communicative with a purpose of expressive care and happiness. The caress by the doctor on her hair conveys the message of confident and perceived as a positive effect to her healthcare. This concept with the protagonist young girl and the visible gestures from the doctor, come across to the final point to deliberate an effort of creating an inspiration of the helpful product that could support doctors and provide aid to patients with the same heart diseases. The technique of signification not only has been used to the animation of ”Inspiring Hope” and to the advert of Nike, but also to the following campaign of BBC’s.
Between the scenes where the athlete girl performing a high long jump until the scene of the javelin throw, different actions happen in slow motion with the athletes reaching the sky. After that particular part, there is a female figure that performs rhythm exercises in a bridge of the arena. When the girl, land to the ground and made the rhythm gymnastics, simultaneously the following of the campaign’s actions present the Olympic athletes with a unique ending movements to signify their final point. Although, there are four split shots in the next actions, whereas some compositions links together and create two different parts that show continuity as each scene completing the previous scene. The first section is the relation of the marathon runners and the swimmers (Fig, 27), (Fig, 28). In the town’s streets the runners specify their dynamic movement to persuasive their winning position and move their body shape ahead as they unveil the fastest sensation by the extension of their head. In order to complete the entire part the swimmers touch with their hands the ground in front of them, to represent the ending of the both contests.
The second part aims to relate the diving man and the final movements of the girl that performs rhythm gymnastics (Fig, 29), (Fig, 30). In the action where the athlete jump from the platform and attempt to swim out of the river by the ending of the second minute, the female athlete in the next visual motion capture, present with her hands backward to signify the ending of the whole part with her gymnastic arch position. This specific final reaction embodies the figure’s extension and exposes the positive energy and the professional skills that characterize the Olympic athletes.
Nevertheless, campaigns use the method of signification thru gestures and expressions to demonstrate a fundamental need of communication and representation into the human’s life to influence our attitudes and lifestyle behaviors. In addition, the above elements, such as gestures, expression and phrases are all part of verbal and nonverbal significations that people can be familiar with. ”Knowing and using words and figures permit people to recognize the same things over and over in all kinds of situations” (Beasley, Danesi, 22: 2002). The authors indicate the particular diagnosis of signifier that is standing out in advertising by the support of people that realize hidden meanings in adverts from previous visuals or similar signs that have seen before. For instance, the Nike’s, Last Game advert includes motivational signs experience thru verbal and nonverbal signs that betrays a specific component which is the purpose of risks by using the products. In contrast with the above example, the short animation of Abaqus heart simulator, presents characters with only nonverbal signs to signify the importance of diagnostic simulator to the doctors, through emotional expressions. Similarly, the BBC campaign presents the athletes figures within their realistic movements and facial expressions with a purpose to make people remember the athlete’s hard training. As a result, the above examples, through the persuasive sign process, emphasize the simplicity of using a product, or clarify people decisions.
It is clear that as humans, we see surprising things in advertising everyday but only interesting visuals stay with us. The visuals can affect us positively or negatively. Specifically, viral animations are created to promote products, services or events with an interesting method. As the famous animated films play a significant role in the business of persuading, advertising agencies influenced by them. While they motivate their consumers with an enjoyable and creative way. Although innovative agencies, bring to life new animated figures with realistic details that creating an illusion of human thought and personality. Branded products within the appearance of animated fictional life, introduce unique effects during their stories. Their poses have no limits to movements or expressions as infinite possibilities for future exploration. Instead of the above sections, live action commercials; usually require actors and sets that need to be effective and useful. The agencies with this method reach high budget. In contrast with that, agencies that use simple and bright animations create quicker and effectively visuals with low budget.
Certainly, the fact that agencies used previous methods with modern techniques to create a unique value for the brand inspired individuals to represent their own ideas. Also animated spots with human elements are special because thinking about the today digital environment of bombarding commercials, the flexibility to analyze more carefully the elements of an entire character to make it work for the needs of an advertising campaign is fundamental. Characters with a unique personality and dynamic expression could be visually competitive and memorable. In the above circumstances, generally figures’ movements act as a positive belief and a higher level of attention. In various concepts the digital body shapes relate with the real world, with the only difference that these are minimalistically structured. Their straightforward realistic special features communicate intelligently flawless.
Although, through the using of believable signification techniques in animated spots, does not only persuade consumers decide for a product, but also could change behaviors and impact with a unique aspiration. As humans, our own capabilities of changing our thoughts into a completely different perception for a brand, usually depends from some convincing evidences that signify a strongly positive or negative reason of why a specific brand has the authenticity of being desirable. Looking at new animated commercials, the imagination exceeds by their unique signs that 3Dimencional characters evoked in our mind and their action become our belief. For that reason our overall view would be different from the time of staring at a character because visually will signify the importance of using the product.