This is Ikea’s first campaign to include a full internet commercial. The campaign is called “Drömkök åt alla” (“Dreamkitchens for everyone”) www.ikea.se/drömkök and consists of print and internet ads. The print ads will be placed in the national Swedish press and are to give the reader inspiration and together with the internet ads drive traffic to the campaign site.
The internet commercial is in excellent clarity and shows six kitchens in a time slice format which turn 360º. The viewer sees a glimpse of the different lifestyles that each kitchen can inspire. For example we see an older man in his classic kitchen reaching for his bottle of wine accompanied by opera music and a younger couple in a funky circular minimalist kitchen accompanied by jazz music. The viewer can click on the items shown to find out more about them.

The director Kallinggård used a Milo motion control rig to film the commercial but as the camera was very big it made it difficult to build six different kitchen sets in the studio. Kallinggård called upon the expertise of Stockholm’s leading effects house Stopp to help him re-create the kitchen sets and produce the commercial. The first thing we had to do was to track the motion of the camera in order to build their own set extensions as they needed to replace the walls and the floors that were taken out of the set for the “Milo” to fit in. The Stopp 3D team rebuilt the ceiling in almost all the scenes as the spotlights couldn’t penetrate the wood and concrete and they took photos on set to get colours and textures that could be used when they made their elements in 3D. Once that was done they also needed to rebuild some of the interiors in certain shots. As the “Milo” rig was reflected onto cupboards and windows they made new ones that looked like the originals but without the reflections. Then objects were added into the air to make the time freeze effect more believable including, toast, eggs, wine bottle, lamps, confetti, champagne, foam and food. The film was shot in several passes with the Milo. Since it was a motion control rig, the camera was able to shoot the exact same sequence twice so that clean back plates could be used to paint out actors and wires. All the shots needed to be painted to remove all the lines that helped the actors to stay in place. Mattes were needed so many elements were painted out and 3D elements could be placed behind the actors or objects. The actors and objects were put back on top of the 3D elements and these were then composited together by Stopp’s senior inferno artist Peter Marin and also graded to match the tone and colour of the footage. Some of the composited elements were then used again by the 3D department to create reflections in the windows.