Page 66 - Advertising Annual 57

GIANT ANT
© Emmy Lou Virginia Photography
experimentation emerged Giant Ant, starting with the two of them in a tiny office and growing as their artistry and reputation took flight.
When asked how the award-winning studio got its name, they look at each other and grin. “There’s this forest ant in Malaysia,” Nelson starts, going on to explain that these ants live on the forest floor and inhale the spores of Ophiocordyceps unilateralis, a parasitic fungus that eats away at their brains. When the ants die, mushroom caps sprout out of their heads from which spores fall, continuing the cycle. “It’s this crazy life cycle where the mushroom wins,” she says, laughing. “But I also thought it was funny that they are described
as ‘giant’ ants. They’re still just ants. So when it came to choosing a name, I liked the metaphor of this tiny creature that has such a big impact.”
While the animation team is putting the finishing touches
on an ad for San Francisco–based startup Slack, whose eponymous product is a team messenger/communication app that consolidates communication into shared channels for users, Grandin describes working on a retro-themed Slack video that launched six months ago. The creative process involved a diverse spread of techniques, including traditional 2-D animation, After Effects and 3-D animation. “Our approach spread out the ownership of different aspects
of the project across the team, which ended up making
everything so much better,” he says. “Every little part of that project exceeded our expectations because the team members really owned their phase of it. Everyone’s creative voice mattered.”
The resulting video delighted Bill Macaitis, chief marketing officer at Slack. The video’s 1940s cartoon-themed visuals and music and its adroit use of color captured YouTube viewers. “People loved the song and the retro look, and
we accomplished what we wanted,” he says. “We wanted something fun and unique, and Giant Ant was just the right- sized studio, with a super-responsive, innovative team—we just vibed with them.” Macaitis says brand videos are part of a new shift in the business-to-business landscape, and Giant Ant is on board to create more.
Like most studios, Giant Ant has an internal hierarchy, which creative teams need in order to function. But when it comes to evaluating creative ideas, Nelson and Grandin insist that hierarchy is thrown out the window. “Our philosophy is that the best idea always wins,” says Nelson. “We take this very seriously.” Art director and illustrator Rafael Mayani says the team’s small size means that “we get to know each other and how everybody can help.” Henrique Barone, a 2-D artist from Brazil and a member of Giant Ant’s creative team, is clear about the studio’s appeal: “Here, it’s about the creative process, and it’s not as competitive as other places I’ve worked. We trust one another and talk a lot. We get to explore.”
Kevan Funk, an independent contractor who has directed projects for Giant Ant, says the studio is choosy about its commercial work and has a thoughtful understanding of the creative process. “[Giant Ant] knows about communicating through look and has a high standard for ideas based on elevation, not solution. The team is like a laid-back family that trusts each other and is open to big ideas.”
Giant Ant’s philosophy is that even in a creative field, a rigid process is key. “Client problems are almost always process problems,” says Grandin. Nelson, fresh from a phone call with her nanny—she had twins a year ago and has, for now, cut her workweek to two days—adds, “We designed our process not only to create the best work possible, but also to protect our clients, our team and ourselves. The best way to value
Above: From left to right: top row: Max Halley, Henrique Barone; middle row: Benny Schuetze, Conor Whelan, Shawn Hight, Teresa Toews, Rafael Mayani, Matt James, Cory Philpott, Leah Nelson, Liam Hogan, Nicholas Ferreira; bottom row: Ryland Haggis, Jay Grandin, Jorge R. Canedo Estrada.
Right: “Lululemon, makers of iconic yoga wear, asked us to help it give Canada a big ol’ hug. And what better way to sing our country’s praises than to re-create the national anthem with some quintessentially Canadian sounds?” Kevan Funk/Teresa Toews, creative directors; Nathan Drillot/Grady Mitchell, photographers; Henrique Barone/Shawn Hight, animators; Benjamin Schuetze, editor; Antfood, music/sound design; Eugenio Battaglia, sound production; Kevan Funk, director; Peter Hadfield, director of photography; Shawn Hight/Matt James/Robin Leveille, visual effects artists; David Tomiak, colorist; Mia Fiddis, stylist; Bernie Yao, production coordinator; Teresa Toews, producer; Lululemon Athletica, client.
“Manufacturers of the clearest fishing sunglasses on the planet, Costa asked us to tell the amazing story of its work in Guyana. We took inspiration from Guyana’s art, colors and music to create this mixed-perspective tour of the jungle and the wildlife that lives there.” Henrique Barone/Nicholas Ferreira/Jay Grandin/Shawn Hight/Matt James/Jorge R. Canedo Estrada, compositors/animators; Lucas Brooking, art director; Jay Grandin, writer/creative director; Lucas Brooking/Jay Grandin, designers; John Corbett, voice talent; Leah Nelson, voice over director; Ryland Haggis, music; Brant Cheetham, producer; Costa Sunglasses, client.
68 Advertising Annual 2016