This year, Autodesk celebrates the role of our design & make software in creating movie magic. In a three-part ad series developed by Ryan Reynolds’ creative agency Maximum Effort, viewers meet the influential, groundbreaking—and entirely fictional–Hollywood legend and icon Otto Desćinski, known to his friends as Otto Desć.
The true Otto Desć is finally revealed in the third and final spot. “Otto Desć” is actually Autodesk, which provides the software technology that allows Hollywood’s elite creatives and innovators—as well as architects, engineers, students and more–to make anything. The full documentary style ad can be found here.
Ryan Reynolds joked about the campaign, “Autodesk has been a secret weapon for Hollywood’s artists for decades, and what better way to highlight that than to create a fake man of vaguely Germanic descent to receive an award that doesn’t exist?”
“Autodesk is how the world gets designed and made—including the beautiful films that delight and inspire us all. The Oscars are a night to celebrate the biggest names in Hollywood, so we’re thrilled to celebrate the design and technology from Autodesk that makes this magic possible in such a fun and creative way. And with this campaign, we’re re-introducing our inspiring company tagline—two words that effectively say it all: Make Anything.” said Dara Treseder, Chief Marketing Officer, Autodesk. “I’m grateful to have worked with our agency partner, Ryan Reynold’s Maximum Effort, to tell the incredible story of Autodesk’s impact—both on the big screen, and in the world.”
Autodesk is inspired by customers like SHADOWMACHINE, the stop-motion production company that brought Guillermo del Toro’s Pinocchio to life.
Academy Award-winning director Guillermo del Toro and award-winning stop-motion legend Mark Gustafson reimagined the classic Carlo Collodi tale that transcends worlds and reveals the life-giving power of love.
Around 350 people were hired for the production with an average of 250 artists working on the film at any given time. The team collaborated closely with co-director Mark Gustafson, along with Guillermo del Toro for review. They also worked with a visual effects team in Canada and partnered with McKinnon and Saunders on the puppet builds. A studio in Guadalajara created additional puppets and sets and shot a portion of the film.
Schmerber said, “ShotGrid helped us track our processes. There’s no way we could have finished Guillermo del Toro’s Pinocchio without it.”