ExxonMobil
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ExxonMobil

'Once Upon a Job'

Scholar was happy to team up again with our friends at BBDO NY and ExxonMobil to create Once Upon a Job. Our goal was to find an elevated and entertaining way to demonstrate the far-reaching impact that ExxonMobil has on job creation in the community.  

We continued to push the design-driven world we've been crafting for ExxonMobil and evolved it into a practical, art-directed execution with precisely choreographed camera moves.  Our talent moves from set to set leading the camera on a journey, guiding us through the story.

 

Credits

Production Company
Scholar

Directors
Will Johnson & Chris Finn

Executive Producer
Christina Roldan

Head of Production
Tyler Locke

Line Producer
Richard Kaylor

Director of Photography
Ernesto Lomeli

Production Designer
Trae King

 

Design & Animation
Scholar

Creative Director
Will Johnson

Executive Producer
Christina Roldan

Head of Production
Tyler Locke

Associate Creative Director
Chris Finn

CG Supervisor
Tim Hayward

Producer
Nicole Smarsh

Associate Producer
Kev Jones

Designers
Macauley Johnson, Hana Eunjin Yean, Cynthia Lou, Hanna No, Conner O’Brien, Logan Sprangers

2D Animators
Logan Sprangers, Andrew Tan

Previz Animator
Hillary McCarthy

Social Editor
Miki Gilmour

3D Animators
James Lane, Eric Molina

 

 

3D Generalists
Allan Bernardo, Jacques Clement, Billy Maloney

Compositors
Eddie Anton, Andrew Hardaway, Chris Russo

Flame Artist
Matt Lavoy, Tom Leckie, Amir Qureshi, Federico Saccone

Storyboards
Arien Walizadeh

 

Editorial
Whitehouse Post

Editor
David Cea

Social Editor / Assistant Editor
Devin Stevens

 

Telecine
Freefolk

Colorist
Paul Harrison

 

Mix
Heard City

 

Sound Design
Barking Owl

 

Music
Mutato

Track Name
Energy Creating Jobs

 

Client
ExxonMobil

Agency
BBDO NY

Set Designs

Within our warehouse, we designed each set as a sculptural snapshot of the workspace to provide a glimpse of each job plucked from its environment. This ambitious execution was technically challenging yet visually seamless as we leveraged rehearsed camera choreography and precise VFX integration.

Process Breakdown

 

Utilizing the strengths of our concept development and CG teams, we began exploring the camera moves and dialing in our performance timing early in the boardomatic phase. This allowed us to seamlessly transition into 3D previsualization and step onto the live action shoot with a concrete idea of motion and timing, aligning each beat of action with our script. This preplanning allowed us to finesse every nuance of performance on our shoot day and plan our VFX integration accordingly.

 

 

 

Social