From bingo balls to butterfly bursts, we’ve worked with Sky Bingo’s in-house team since 2008 to bring the buzz of bingo to TV, digital and social channels through a combination of live action and CGI across an array of impactful campaigns.
After a strategic analysis of the target audience, it became clear the creative needed to resonate with them in the real world. Rather than abstract ideas, the creative approach needed to be grounded in reality and incorporate a touch of ‘the everyday’. When you win with Sky Bingo it’s fun, but it’s a relatively small amount of cash – it’s not life changing. By focussing on that buzz of the little win, which you can take part in each day, we created ‘Everyday Excitement’. By presenting characters playing Sky Bingo in social settings, we were able to break the taboo of online gaming being a solo experience. And the purple powder burst is used as a visual mechanic to capture that feeling of the win! Which has been a consistent theme throughout all the campaigns.
We wanted a celebrity voice to bring the charm and personality of the Sky Bingo brand to life. After much consideration, we knew that the epic Rylan Clark-Neal would be a great fit as the brand voice. Aiding that all important consistency across the campaign, Rylan is now synonymous with Sky Bingo and has captivated audiences throughout. We can’t imagine another Sky Bingo advert without his endearing Essex twang!
To achieve the right aesthetic for the purple explosion, we decided that CG was the best way to give us the most control. On the shoot we had reference photos and measurements to re-create the room in CG, also capturing the lighting set-up using HDRI maps. We were then able to get the right textures for the purple look for the whole scene. For the powder explosion, we started by looking at reference videos to see the details needed for a realistic explosion. To create the particles, we used a mixture of X-Particles for c4d and Turbulence FD. Once we were happy with the basic simulation, we realised we would need quite a few different cannon explosions to cover the scene. We then added particle spawns and collisions to achieve the realism. The final render was executed using redshift, with over 20 million particles created to get the look just right!
Organising a shoot during a pandemic presents several challenges, but the team were able to crack on and produce the very best production quality. With a minimum crew physically on set, the rest of the team worked virtually via a live Zoom feed throughout filming. Masks and social distancing were adhered to while on set, with a tent erected outside the location to keep those who could work in the fresh air, outside.