The Stop-Motion Campaign Hack That Cut Our Production Time in Half.
- Krisztian Sipos
- Oct 23
- 4 min read
The Stop-Motion Campaign Hack That Cut Our Production Time in Half
When Esso approached our London Omnicom agency to launch a competition for a trip to Japan, we faced a classic modern challenge: create a campaign that felt authentic and handcrafted while delivering it efficiently across multiple platforms. The pressure to produce three unique assets—a widescreen video, an Instagram square, and a vertical reel—was immense. The conventional approach would have been a logistical nightmare, tripling our shoot days and budget.
But we discovered a simple hack. A method that not only preserved the delicate, hand-folded artistry of origami but also streamlined our entire production, effectively cutting our studio time in half.
The answer wasn't found in a bigger budget or a larger crew, but in the delicate, deliberate crease of a piece of paper and a brilliantly simple technical setup.
We knew we needed an artist who could do more than just fold paper; we needed a cultural translator. That’s why we partnered with the phenomenal Coco Sato, whose work "reimagines this centuries-old Japanese art form through the lens of geometry, light, and sensory experience." Her mission to create "moments of calm, wonder and connection" was the perfect foundation for our 'Travel to Japan' campaign.
The Big Idea: Craft, Culture, and Competition
The strategy was a nesting doll of connections. The competition was the prize (a trip to Japan), the creative was the lure (authentic Japanese culture), and the craft (origami) was the tangible proof of our care and attention. We weren’t just selling a holiday; we were offering an authentic experience, starting with the ads themselves.
Coco’s expertise was pivotal in selecting three iconic Japanese elements: the grounded power of the Sumo wrestler, the majestic serenity of Mount Fuji, and the precise art of Sushi. This wasn't just paper craft; it was a bridge between Japanese sensibility and modern advertising, designed to evoke genuine emotion.
Why the "Imperfect" Human Touch Feels So Right
In an age of flawless CGI, we deliberately chose the subtle imperfections of hand-folded paper. You can see the texture, the slight shadows in the creases, the gentle wobble as the Sumo wrestler moves. This human touch was our secret weapon.
It feels better because it is real. That slight imperfection shows the originality and the craft behind every frame. It creates a subconscious connection with the viewer that polished, digital perfection often can't achieve. In a world of digital noise, a real, physical object, made by hand, commands attention and respect.
The Multi-Format Masterplan
We had one story to tell, but three very different stages to tell it on. Our mantra was "craft-for-context," creating bespoke experiences for each platform.
The Instagram Square (1:1) - Mt. Fuji: A moment of Zen. Designed for the scroll, this peaceful, compositionally perfect scene stopped thumbs. It was about brand beauty and aesthetic appeal.
The Widescreen Video (16:9) - Sushi: Our cinematic storyteller. Used on the website and Facebook, this format maintained a narrative flow, showcasing the elegant assembly of the origami sushi.
The Vertical Reel (9:16) - Sumo Wrestler: Pure, dynamic energy for TikTok and Reels. The vertical frame amplified the Sumo's power, creating an eye-catching, looping action designed for viral engagement and driving competition entries.
Behind the Scenes: The Engine Room of Versatility
So, how do you shoot three perfectly framed films simultaneously, ensuring every logo and FX element has its place?
The Dragonframe Solution: Your Creative Safety Net
The technical challenge was immense. We had three different-sized origami models, and each one needed to be perfectly positioned within its specific crop, with ample space for text, the Esso logo, and visual effects.
Our solution was a brilliantly simple use of Dragonframe. By shooting on a wide-angle lens and setting up three permanent overlay guides on the monitor (for 1:1, 16:9, and 9:16), we created our creative command centre.
This wasn't just about getting the crop right. It gave us the freedom to practice and choreograph each movement, ensuring the Sumo wrestler stayed in frame for the vertical reel, or that Mount Fuji was perfectly centred for the square. We could see at a glance whether there was a clean space for the FX and text, preventing costly mistakes before they happened. It transformed a potential headache into a stress-free, precise process.
The Gospel of the All-Hands Zoom Call
If there's one piece of advice to take away, it's this: the pre-production call is non-negotiable. Before we set foot in the studio, we gathered all nine key participants on a Zoom call—the lighting director, project director, origami artist, project manager, and more.
This wasn't a quick check-in. It was a deep dive where we workshopped the entire project: the story beat for each film, the exact colour themes, the lighting mood, the placement of text and logo, the design of the origami sets and backgrounds. Having Coco, the lighting director, and the directors all in one (virtual) room meant we solved problems before they became questions. That single call was the bedrock of our smooth, successful, and collaborative shoot.
The Takeaway: Strategy is in the Details
The success of the 'Travel to Japan' campaign was that every element, from the choice of artist to the Dragonframe overlay and the collaborative Zoom call, was a strategic decision. It proves that the most versatile and effective work isn't just about a big idea—it's about a meticulously planned execution that respects the craft, the platform, and the audience. It’s about building in flexibility from the very first fold.
Fascinated by the craft? In our next post, we will go deeper into the art of stop-motion itself. Join us in The Art of the Fold: Behind the Scenes with Origami Artist Coco Sato, where we explore the frame-by-frame magic that brought the Sumo, Fuji, and Sushi to life.
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