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The possibilities offered by new technologies have opened their borders to more diversified and intense experimentation. In the late seventies, the world of cartoon meets computer graphics. It arises from the very beginning not only as a new means of expression, an increase of stimulation and excitement and creativity, but redefines the work of the same entertainers "radicalizing the question of how and to what still needs to count the human contribution in the realization of a cartoon" (1.).
Meanwhile, at international festivals, the question of the use of computer graphics animation to do had some discussions on: there were those who showed concern to the new one thousand half believing that technology from the "potential intrusive and disrespectful he was able over time to bring alienation of ideas in parallel there was those who believed that computer graphics was interesting precisely because it was more flexible and immediate than the traditional one.
Probably all of these concerns were also motivated by uncertainty about the future and how to adapt to new technologies. Today in the digital age is well known that the animation is done completely to your computer, be it film or television. Even the animation advertising today uses dell''uso computerizzta graphics. The animation has reached a certain maturity, making full use of digital techniques (2D and 3D) and, when compared to 'classical animation, which prevail in the care and richness of detail and pace more sedate and reflective, the animation can now only boast a faster pace, in a sense that interprets our present. In our present language of advertising is appropriate, such as animation, new models of communication: Internet allows the advertising and communications to travel through a planetary connection. Advertising today is operating in a virtual environment and is therefore not visible, in reality conditioned by the flow of communication media and networks, trapping and material published in the immateriality of hyperspace animation.

"Toy Story" the first fully 3D animated film produced by Pixar in 1995

time is not very convincing even if the technique attracted no little curiosity.

recently in several commercials, you can recognize some of their characteristics in the form of "Carousel" may be an example of the formula where the protagonists are increasingly being used in new situations (spot of "Lavazza" with Bonolis and Laurenti in paradise ) or modern interpretation of the old commercials ("Cynar: against the strain of modern life", or "Carmencita and Caballero).

Spot Lavazza's advertising initially interpreted plaintiff 'Tullio Solenghi

As regards advertising graphic animated feel good that the "Ceres", where in a box made with 3D graphics, the protagonist ("Ceres Chen") runs into some unfortunate incidents. The realization of this spot, for the liking of the character and sequencing of situations are always different, refers to the formula of "Carousel," though what we saw on television is only part of the work done dall'animation study Ligurian Article Five. "

Some sequences of the spot produced by the studio "artFive" and some episodes are shown on the site

missing aspects of television advertising production today are essentially the 'unpredictability and knowing how to impress the audience: "Carousel" worked for the uniqueness and originality of its formulas, always different, and the sympathy of the people involved in different situations every day, never the same. In my opinion the weak point of the current TV spot lies in the repetition and then the predictability that ultimately makes the sight tediante.
difficult to imagine a future scenario of the Italian animated television advertising, especially in an era when new technologies are outdated and chase each other all the time. No going back, this is clear, but we will be able to return to the production of the most engaging? We will have occasion to sit in front of the TV and get involved a bit 'of that magic for the lucky viewers of "Carousel" was part of everyday life?