Michael Gracey directed Evian’s "Skating Babies," a multi-national, multi-platform campaign bringing together choreographed roller-skating babies and the remixed street sound of The Sugar Hill Gang's "Rapper's Delight." Created by agency BETC Euro RSCG, the spot was produced by Fabrice Brovelli, head of TV at BETC, and Jaques Etienne Stein at Partizan.

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MPC created fully CG baby bodies, carried out extensive live-action head replacement and compositing, and crafted large-scale digital matte paintings to extend the park environment for the television and online campaigns.

The MPC crew was involved from preproduction, creating pre-vis based on the director's supplied storyboard to aid the development of the scenes. Early testing researched the best way to integrate 2D and 3D techniques to create the young skaters, who needed to act like adults, yet keep the babies’ personalities. To do this, the VFX team opted to combine live-action heads with the CG bodies. To make this happen, 134 babies were filmed, and their heads were matched to 3D animatics displaying the baby-like body behavior.

VFX Supervisor Dean Robinson and Drew Downes attended the shoot in Melbourne, shooting backplates and lighting reference. They also took reference for the digital matte paintings that enhance the background and re-create the city environment. A motion-capture shoot also took place to capture moves for the background dancers.

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MPC’s team of animators used Autodesk Maya to create the baby skaters’ bodies. To ensure the babies appear "fully realistic," or as realistic as a skating baby can be, it was important to carefully match movements, paying special attention to the interaction among the shoulders, neck and head. To help achieve this, fully CG babies were created; their heads were replaced later by the live-action versions from the shoot by MPC’s compositing team, led by Ludo Fealy. Creating the babies in full made sure the newly positioned heads would follow the shoulder movement naturally. This also helped during the lighting stage, as shadows of the heads could be easily projected.

Another challenge was to create realistic skin texture and match the different skin colors. To achieve this, the 2D team composited together multiple layers and carried out general clean-up of the plates.

Many elements were shot with a RED ONE camera, with the MPC Data Lab handling digital development and processing of the media.

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For dailies, the lab transcoded the footage directly to native Avid media files and project bins so that editor Ben Harrex at Final Cut could start cutting immediately, with no additional transcoding or importing required.

The lab was able to process large amounts of 2K data on the render farm very quickly. Working in the lab's client area during the heat of the final delivery stages, Michael Gracey's additional footage selections were rendered out and delivered straight to the VFX suites within minutes.

Paul Harrison and Jean Clement Soret added the master grade, carefully balancing the backplates, live-action heads and CG bodies.

The :60 television spot (with cut-downs) debuted worldwide on July 2.