Agency:Ogilvy & Mather Paris
Production Company:Passion Pictures
Directors:againstallodds & Jon Saunders
The Coca-Cola Company wanted to celebrate 100 years of the Coca-Cola contour bottle with a TVC campaign featuring an animated story of how the bottle was made. In the script from French agency Ogilvy & Mather, the older brother tells his younger brother the story of how the bottle is shaped, and the film takes us through a fantastic visual global journey as the bottle is crafted out of an ice block into its final design with it’s iconic curves and red ribbon.


The agency wanted the tale to be set in different corners of the world. Every chapter in the film should have its specific graphic universe which captures the younger brother's imagination.

Working with beverages in the commercial world, you have to make it look great. In Tale of Contour the beverage needed to be filling up in the bottle, which added to the challenge. We knew that this was one of the critical aspects for the client.

"The biggest creative challenge was to give the film a visual flow that would work well and carry the story through, as fast paced as it was. The sheer mass of the project was challenging in an of itself, with many different locations and characters, as well as mixture of matte paintings and CG."
- Nicklas Rissler, Director

"Working with sufficient detail to make for a rich visual experience given the range of sceneries and distance traveled and considering that no scene could be reused was a production challenge as well."

- Robert Krupa, Supervisor


A solution to the visual flow was the use of the red kite, in this case a literal and metaphorical red thread throughout the film. It was the carrier of the story in that the long tail of it could be used in a way to lead the eye through the story. It became a good visual tool to help tie everything together.

For getting the right look of the Coca-Cola beverage we started developing the look and style of the simulation early on in the project. It was a mix of fluid and particle simulation with nifty shader and compositing networks to get the right look.

For the environments, we made extensive use of early concept art and lighting design which enabled us to give ourselves and the client the impression of what the film was intended to look like as early as possible in the process.