Twitter + IFood
There’s no way around it when we’re hungry.
Hair turns into spaghetti, vinyl discs turn into pizza, and a piece of art can look like that dish you love.
Sounds weird? Of course. But when hunger knocks anything reminds you of food.
That was how we got together with our fellows from Twitter, and became inspired to produce this fun series for one of the most popular food delivery apps in Brazil: Ifood.
We needed a story that would illustrate the speed of delivery of the main restaurants in the network. Something more commonplace, simple, since the app is already present with most Brazilians in their meals. That’s when we decided to put ourselves in a situation of strong hunger, delaying lunchtime for hours. Desperate to pick something to eat and kill that which is killing you, hunger started controlling our action, and fights, moods and light-headedness started to break loose. Because when “hunger hits”, my friend, we’re capable of anything.
The idea was to show playful situations where the characters are “hunger-tripping”, and fall back to the real world when a juicy food order gets on their table.
We made 9 films with 15-second stories, each tackling a specific restaurant. When we wrote the script thinking of each possible audience and situation, we arrived at the idea of creating two worlds. The world of imagination, of hunger delirium, and the real world where food delivery happens instantly.
In the first we worked the main gag of the film, the playful story and the character’s awakening, all in a 2D language. In the second, however, we decided to bring the viewer into Live Action, and close with a tasty delivery full of appetite appeal. To do that, nothing better than the real world, isn’t it? Oh, and obviously, every order tells us automatically where we are; pizza at work, a burger while playing video games, and so on. The puzzle started being assembled.
With a defined story metric, we started developing an art direction that would connect both worlds. Our first step was to think about the cast for the live action scenes. The characteristics and personality of each character would have to be translated into the 2D worlds. Costume design came next. Each story defined a persona, and the connection between the two techniques started to become clearer. In the hairdresser film, for example, our actor was wearing an apron. On the other hand, in the museum photographer film, the clothes, the necklace, and even her camera were part of the real world scene.
The campaign took shape when we decided to create minimalist universes in both phases. We worked with a reduced color palette, and enough details to tell the story without overstating it. Each film talked about a brand, an entirely new guideline to be considered. So we decided to define IFood as the main brand, which also set the tone for our art direction, and the restaurants came in as a consequence, by the end of the process, as a product. This decision helped us a lot in the many approval stages.
We opted for cut out 2D animation to bring expressiveness and unique movements to our characters. Its flat tone helped us create the simple universe of imagination. But we also decided to use traditional frame-by-frame animation when the dream became crazier and looser. This is when a stronger visual impact added charm to the whole thing.
In order to make the transitions between worlds a lot more fun, the break from one into the other would be exactly when the mirage is gone. You know that moment when the character is lost in a desert and spots an oasis with clean water, and when he finally gets close to it and tries to drink the water, PUFF! It was all sand? So… exactly. PUFF!
Our characters see food in everything they see, and they perform the same motor actions they’re performing in the real world once the mirage is broken. This made it possible to edit with a simple cut and – PUFF! -, the character wakes up and realizes they have put themselves in a completely awkward situation for being on an empty stomach.
The third act of our movies were the signatures with live action packshots.
For this moment, we focused on working with a color block in a minimalistic scenery, where the focus was on the food being presented. We also opted for using a similar language in the animation. To translate the speed and convenience of the IFood service, our main action was a simple “touch of a button” on the phone, and VOILÁ, the food is on the table!
The major challenge in this moment of the film was abiding by each guideline for the appetite appeal of each different restaurant. But between you and me, we nailed it because the result is simply delicious.
Gustavo Leal and Faga Melo
Daniel de Santi
Felms and Lucas Wakamatsu
Felms, Lucas Wakamatsu and Thiago Biazzoto
Bruno Tedesco, Caique Moretto, Pedro Fernandes, Faga Melo and Ricardo Lopes
Pedro Fernandes, Faga Melo and Ricardo Lopes
Audio production company
Dope Audio Design