Post by Teo Camara

Here’s what it looks like when a 3D animation breaks out of the screen and takes over a building.   In 2025 the Westpac's in‑house agency created a campaign centered on the brand’s security proposition at the time, “Layers and layers of protection,” highlighting Westpac’s commitment to keeping Australians safe from scams and fraud.   As part of the brief, we explored ways to bring this creative platform to life through innovative OOH executions, Formats that could create disproportionate cut‑through and reinforce our baseline presence across the country. The campaign rolled out in 2025 across TVC, radio, print collateral including full page newspaper ads, bus stops, billboards, trains wraps, train stations’ floors, staircases and the escalator at Parliament’s Station in Melbourne. And online ads, digital screens on stations, airports, bank branches, social media, which I will cover on another post.   Today I’m focusing on one of the most interesting pieces: an anamorphic LED screen on Bourke Street in Melbourne. This format uses forced perspective to create the illusion of 3D depth on a flat surface; perfect for a campaign built around layers, structure, and security.   Our Art Director Nicolas Cogels and I partnered with Art Director Ella Trengove and the team at POLY to concept and produce the 3D animation. The challenge was to translate our campaign idea into a 15‑second anamorphic moment that used false perspective to reinforce the theme of protection.   We designed the animation as if it were part of the building itself - creating a “hole” in the wall where the action unfolds, anchored by a large W button that triggers the reveal. We explored multiple directions: fluid text, rotating elements, and lock‑like movements. Ultimately, we leaned into a bold, structural, metallic aesthetic inspired by vault doors and heavy security mechanisms.   I collaborated on design and creative direction, modelling and animating a few text and door options for both the Bourke Street screen and the portrait version. POLY then produced the final animations and handled the forced‑perspective alignment to ensure the illusion worked perfectly from the street.   One key insight I learned on this project: It doesn’t matter how cool the animation looks; the meaning behind the nuances will communicate the intention of the video.   Initially I really liked the fluid animations, where the letters animate more independently, but that looseness dilute the bold, strong protection we were aiming for. Purpose comes before sizzle – and leave enough time on screen for the copy to land. Producer: Jeff Edwards Art Direction: Nicolas Cogels Creative Direction: Teo Camara, Nicolas Cogels, Ella Trengove & POLY team Motion Graphics Designer: Teo Camara & POLY team Anamorphic Animation: POLY Marketing Managers: Catherine Verge, Anthony Saunig oOh! Team: Josh Gurgiel, Sophie McGrath The campaign is no longer active and this case study is only for portfolio purposes.

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