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Ailimeile creates a paper wonderland for Disney


The playful one-minute film introducing Zootopia-themed merchandize should undoubtedly grab the audience’s attention. As it indeed grabbed ours, but it also peaked our interest with a few questions about this unique Disney Zootopia x Wuling NanoEV commercial. For example, why is the 2016 animated film back in the spotlight? Why did the creators chose a crossover of animation and paper artistry? And finally, what did it take to create this visually impactful paper world?

这部时长一分钟,以《疯狂动物城》为主题的影片绝对会吸引大家的关注。首先它确实吸引到了我们,也让我们对这部独特的迪士尼疯狂动物城 x 五菱NanoEV广告产生了一些好奇。比如,为什么这部2016年的热门电影如今再次成为大众关注的焦点?为什么策划会选择让动画与纸艺联动?以及打造这个震撼人心的纸艺世界都需要些什么?

Concept drawings

When it was released in 2016, Zootopia became an instant hit. With box office results of $236,086,416 it held the title of the highest-grossing animation of all time in China, until in 2019 Nezha has overtaken it. On top of that, Shanghai Disney Resort plans for the world’s first Zootopia-themed attraction is moving forward with an opening date in 2023. As to the questions about the production of the paper wonderland, we asked them to Ailimeile— the art studio that brought this beautiful style to life.


Alice Melloni on set

Alice Melloni describes the first time collaboration with Gumlab studio as “smooth and enjoyable”. Gumlab came to Ailimeile with a rough script and an idea to use real props with animation. “People think it’s easier to do things in digital, but it’s not always the case”, shares Alice. She continues: “Physical objects are less expensive and are faster to produce.  It could take 4 months and 30 people to make this ad entirely in animation. ” Ailimeile only needed a team of 5 and 10 days from the initial idea, to concept drawings and delivering the actual props.

Alice Melloni 表示与Gumlab工作室的首次合作是“顺利且愉快的”。Gumlab带着粗略的脚本和用真实道具制作动画的创意找到了Ailimeile。Alice说:“人们认为用数码技术做事会更容易,但事实并非如此。其实,实体产品更便宜,生产速度更快。如果全部用动画制作这部广告,可能需要4个月,30个人。”而Ailimeile从最初的创意到概念图纸和交付,靠着5个人的团队,在10天之内就完成了。

In Italy, the founders’ home country, making the props would take at least a month, but Ailimeile navigates the challenges of production speed in China without losing the “Italian art quality”. “Not a lot of studios or clients are interested in quality, as for them, the priority is more about the price and other things. But in the end, the product is different and the audience can see it”, Alice comments.


The paper landscape further helped the animation team to save time with motorized elements like the carousels. Changing direction of the movement, rearranging the props— if the director wants to adjust things on the shooting day, having these as props make it easier. In addition, Ailimeile team always provides assistance on set, and if needed, will even be involved in the shoot. As in this film, the team moved the waves manually in all the seaside scenes. Alice shares, that it was actually tricky to make them move naturally, but the team rehearsed, practiced and with some creative ideas from Alice’s experience in theater production they nailed it.


Real set

The client was so pleased with the final film, that their collaboration was extended. Ailimeile is now working on print ads for the same campaign. In Alice’s words: “We work hard, and we’re happy when the clients understand what we do and love the result”.

客户对最后的成片非常满意,也因此延长了与他们的合作。Ailimeile现在正在为同系列的活动制做平面广告。用Alice的话来说就是: “我们全心全意地工作,如果客户能够理解我们的工作并对最终成果感到满意,我们真的很开心。”



Client 客户: 上汽五菱

Agency 代理商: 擅美

Production House 制作公司: 星橙量子

Director 导演: 斯文(Gumlab)

Art Director美术指导:  Ailimeile

EP 监制: Arfa

Producer 制片: 马家恺

DoP 摄影指导: Hank

Props makers 道具及场景制作: Ailimeile

Concept design 概念设计: Ailimeile

Gaffer 灯光: 小杰

Editor 剪辑师: Gumlab

Color 调色: Gumlab

Post House 后期制作: Gumlab


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