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Have you been to Tel Aviv lately? It has been marked as one of Lonely Planet’s top 10 cities for 2011 and one of the 10 best beach cities. 

Award winning creative talent at Gravity meticulously craft another brilliant example of their ability to generate whole new realities in CGI. Preceding a triumphant win for Agency McCann Erikson at the AME awards, the success of their first Yoplait campaign resulted in a significant increase in sales from 0-43%. Sustained accomplishments and ingénues concepts such as the ‘Pelephone’ series, the international Post House and Agency continued their joint success with a second Yoplait campaign that exceeds the first.

The CG world was based on briefings from McCann Erickson inspired to promote Yoplait's new line of products for kids called 'Shtoozim'. Director Uri Shizer lead Gravity in the creation of a stylized paper world that is quaint, nonsensical and compilation of charming rhymes, inspired by Dr. Seuss.

The captivating product title ‘Shtoozim’ is a gibberish combination of the Hebrew words "Nonsense" & "Rhymes", constructing a strong comical identity that Gravity brought to life using techniques utilized through cardboard and paper characters intercut with live action faces of Children. Strong and memorable visuals alongside the catchy tune have meant that this commercial has been a triumph to both parents and their children alike.

The ''Whipping Narrative'' for the new line of Shtoozim products Whipped Creamy deserts was key to the success of this storyline. For Gravity it meant embellishing the stylized concept of the paper fantasy world with whisks, whips and fluffiness taking research and development by Gravity’s Art & Design department dedication and innovation. Successfully conveying the accurate look of ‘whipped’ lightness with living (animals and children) and non-living (carousel, whisk castle and a Ferris wheel) objects the whole production had a strict six weeks deadline, from concept, through development and design stages to compositing and delivery.

A linier process and development from the original 2D design into a world of 2D and 3D combined. Using 3D models as the base, designs were developed in 2D using Photoshop and eventually projected back on the 3D models. This permitted a greater freedom compiling and arranging the altered worlds and was further exaggerated by camera movements, emphasising all dimensions.

The Gravity team used Photoshop, designing all objects in 3D with Maya, compositing with Flame. All departments worked side by side on the project using Autodesk® FBX® asset exchange technology, enabling an exchange of data between the various Autodesk packages Gravity's pipeline is based on.

Supporting the success of the first and succeeding campaigns, Gravity formed a case study on the entire ‘Shtoozim’ campaign in a printed children’s book in English. Taking the element and inspiration from Dr Seuss and the creative world that was manifested by the design team it felt only appropriate. Contact Gravity to request your copy of the book, at Elinor@gravity.co.il.

Executed in a studio in Hungary amidst one of the coldest winters with temperatures dropping to -10, Gravity continues to suspend our disbelief with this depiction of spring in all its elegance.

The new Müller commercial is the latest CGI work to come out of the international creative house, with charming results. Delineation of Alpine views, fruit picking seasons as well as the personification of these natural creations to unite and deliver yet another international campaign for Yeoshua TBWA. The genuine spring atmosphere was achieved by filming onset using blue screens, and then replacing the backgrounds with Alpine view surroundings and greenery, which were all drawn in matte painting. Accordingly, a significant part of the spot was actually created in CG and composed in flame, while it seems that the spot is mostly live action. Apart from the challenge of creating a pastoralist snowy and fresh surrounding, it was essential to also assure that the artificial lighting from the set is replaced with 'natural' warm sunlight and the shades it would make on natural set, all accomplished by matte painting and compositing. Gravity has a long established legacy of creating outstanding matte paintings for high end commercials. Additional memorable examples include the series of spots for Swiss dairy company Emmi (where Gravity designed and revived typical Swiss forest animals in their forest environment) and the world renowned and acclaimed series of commercials for the telecom company Pelephone(titled 'Welcome to Another World'). Gravity TLV and Gravity NY joined forces in working on this Muller spot, where all Art & Design work and creative directing was handled by the office in TLV, and compositing was handled in the office in NY.

Gravity’s award-winning international design team “steam roll” this train, generating post that is vibrant and full of energy. The new Coca Cola Zero commercial unites elements of all things exciting: combining free-running anticipation to an exurberant outcome, alongside some brilliant visual effects that engage the viewer into an ‘urban’ dream. With a ‘gritty’ grade and “edgy” art direction, this production has drama and stimulation. Israel’s top teams create a combination of live action and compelling animation that loops two narratives together into one brand: Coca Cola Zero. As design, animation and VFX provider, Gravity installed all visual online set design (including the skyline matte painting) alongside embellishment of the train and all graffiti animation work. To develop the graffiti artwork, multiple layers were composited to facilitate illusionary visuals as well as support the brand iconography. Technique was key, in order to address the viewers attention to both the train movement and animation, so the train was composited by the Gravity team at 24 frames per second, while the animation was significantly slowed down. Directed by Rani Carmeli, (Gustavo Productions) with DOP Avi Karpick, agency Dahaf-1 emerged with a concept inspired by cinematic films and old flip books: a long time dream for train commuters to have entertainment on a weary journey. This commercial makes it possible with an art form that combines an “anti-system” art form into a beautiful world of stimulation and life. The 'flat' graffiti paintings emerge into an exciting cinematic sequence of iconic Cola Zero visual language. This was a dynamic and exciting project for Gravity working with one of their favorite internationally established brands, a high-end team of both production and fantastic post!

After designing and producing all CG work in the recent series of commercials for Emmi (Swiss dairy company), which was broadcasted throughout Europe and online, Gravity continued to producing all animation work for the just-released Emmi iPhone/iPad/iPod touch application, which followed the same campaign due to its success.

The application, which was made available for download in the iTunes store just last week, presents your new pet- named Marmeli, the most adorable furry animated marmot, also star of the TV campaign.

In the app, Marmeli dances, swirls, whistles (when board), enjoy strokes, enjoyies playing around and eating Emmi products and much more, with more than 30 different gestures fully animated by Gravity using Maya, and then rendered to required handset's screens. While most of the marmot's gestures are fully humanized, still some preserve the true animal nature of the marmot, and required to fully understand its exact physicality.

Also, as several of the marmot's gestures appear in random order, while several are triggered by the user (using the touchpad, shake of device or by using microphone), a key component in Gravity's work was to preserve the same key-frames for each of the marmot's gestures and maintain lighting. This allowed continuity in appearance and smooth transition between sequences.

It was reported that in the first two days of launch–more than 14 thousands downloads were made, and until today- number of downloads crossed 30 thousand.

Link to application in the iTunes store

International acclaimed creative and Post Production house Gravity has finalized a series of 3 commercials for Swiss Emmi Dairy Group.

The creative and post production work on these commercials was challenging in the sense that it was based on the design and revival of typical Swiss forest animals, including marmots, squirrels, birds and butterflies in a forest environment.

The forest animals were designed realistically in CG but with an added twist and were incorporated into live footage which was shot in a forest in Austria and was given the same “treatment”, resulting in a fairytale look and feel.

The work in this case demanded that Gravity's artists fully understand the physicality of the animals, be able to design the animal's motion and look with the scrutiny required to make it almost believable.

While the creative and post production was Israeli, along with the Israeli director Eli Sverdlov and director of photography Mano Kadosh, the production was managed across the sea by the production house Jerk in Austria, and Swiss client.