American Cinematographer - February 1990 - 78

New Look for Old

Spot

by Nora Lee
Some time ago,

the Leo Burnett Agency/
Chicago and their client, 7-Up, introduced
in advertisements an animated group of
little red spots. This gang of mischief-

train,

76

a

a

case.

wailing on his saxophone. There is
quick cut to an over-the-shoulder view
of the 7-Up machine. In a closeup, the
hinged door on the front of the machine
opens to reveal "Spot." He listens to the
jazz for a second and snaps his fingers.
Suddenly he backflips, slides down the

The musician says,

"Thanks

man,

stay cool." Spot tips his hat-as if he had
one-and

The :30 commercial opens
shot in a subway of a departing

red body is completely covered by the
coin. Spot's actions are monitored by the

7-Up machine and a blind musi¬

jazzman's seeing-eye dog. Suddenly the

flatter it reveals itself to be. Director

"Saxophone," ol' Spot (the real

of one of the gang) reveals he has
a heart-and this time, he's computeranimated.
name

with

quarter lands in the performer's open

a

jumps back into his rightful
the 7-Up can.
Charles Gibson, the young,
articulate co-founder of Rhythm and
Hues, explained why computer animation
was necessary. "This commercial is the
first that really features a single charac¬
ter in close-up and that is one of the
reasons for using computer animation.
The closer you get to cel animation the

makers has starred in five commercials
that combine traditional cel animation
and live-action. Now, in a new spot

called

cian

American

Cinematographer

coin return and lands behind a quarter,
which he pushes out of the slot. In the
next shot, a pair of sneakers walks the
quarter toward the sax man-the little

February 1990

place

on



American Cinematographer - February 1990

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