Dumb Ways to Die – The Campaign by Metro Trains


Dumb Ways to Die is a marketing campaign by the Melbourne Metro to prevent accidents on its commuter trains. It is clever mix of quirky humor, a catchy note and a bunch of amiable animated characters.


The Dumb Ways to Die video went viral within 24 hours of its launch. It has got more than 50 million views and 3.8 million shares.


The accompanying song Dumb Ways to Die for the video was written by John Mescall and Ollie McGill composed the music. Emily Lubitz, the lead vocalist of Tinpan Orange sang the song while McGill made the chorus заявка на кредитную карту альфа банк. The song was released on iTunes and within 24 hours of its release, it was in the top 10 on the iTunes chart and on 18 November was the sixth most popular song globally.


In May 2013, the Metro released a Dumb Ways to Die game as an app for iPhone, iPod touch and iPad devices. Later in September 2013 an android version of the same was also launched. The game invites players to help the featured dumb characters from dying stupidly.

The Guardian claims it be Kate Moss’s favorite game!


The campaign website contains more information about safety, as well as some interactive elements, such as a ‘pledge button’ that you can click to commit to taking safety seriously.



The campaign was heavily featured across the Melbourne Metro train stations. Illustrated walls allowed commuters to take their photo with the video’s characters.

Smaller posters and elevator door decals were also on display.

Campaign Results

The campaign repositioned the issue of rail safety from the invisible to popular culture. It nailed the target – since the campaign, Melbourne Metro has seen more than 30% reduction in “near-miss” accidents.

Dumb Ways to Die was the most awarded campaign in the history of Cannes. It won 28 Lions, including 5 Grands Prix.

Your Turn

Why do you think Dumb Ways to Die is such a huge success? Did it make you think differently about safety?

Storyboarding: this is where it all begins

If you have ever been on a film shoot that didn’t storyboard, it looks like this: Everyone arrives and equipment is strewn around because no one knows where it should go. The director turns up and tries to decide what the first shot should be, and who should be in it. The camera crew then begins the long task of lighting and setting up for the shot. All in all, a huge waste of time.

With storyboards in place, the shots are planned out before the shoot begins, allowing for a smooth production experience (well, as smooth as production can ever be).

Creating great storyboards is an extremely specialized art form. The artist has to work with the director to transform a script into its first visual images – requiring both strong drawing skills and an understanding of camera angles and movements. Some directors work with very basic storyboards – not much more than stick figures and squiggles. Others use elaborate creations that also capture the art direction and styling for the film.


nofilmschool has a set of panels with storyboarding tips from DreamWorks (who certainly know what they are doing)

Get an insider’s perspective of storyboarding with the Coen Brothers’ Storyboard Artist J. Todd Anderson.

The New York Times provides a storyboard for a proposed anti-Obama ad film called Next. This type of storyboard uses stock photography to explain the camera shots. This can be more effective than a drawing at communicating a film, if the right images can be sourced.

Daily coverage of Washington

The Guardian has done a slideshow of storyboard frames for Francis Ford Coppola’s Apocalypse Now. These are beautiful, coloured images that really capture the feel of the film.

Apocalypse-Now-storyboard-003 (1)

Would you like to learn the skills of storyboarding? Check out our Animation and VFX course page: http://www.aisfm.edu.in/academics/degree-programs/bachelor-fine-arts-bfa-animation-vfx

The Stunning Film Posters of Satyajit Ray

Satyajitray Posters

In addition to his work as a filmmaker, Satyajit Ray was also an excellent graphic designer. He put this skill to good use, creating his own posters for many of his films.

Ray used a unique fusion poster art, which blended modern European techniques with traditional Indian and Asian forms. The posters often comprise dreamlike collages, incorporating portraits, imagery and lettering from scenes of the film. He loved experimenting with typefaces in both English and Bengali.

Far more than mere eye-catching advertisements, each poster provides the viewer with Ray’s own interpretation of his film, condensed into a single image.

Let’s take a look at some of the posters:

Film posters: Pratidwandi Film posters: Mahapurush, The Holy Man

Film posters: Devi

Film posters: Pather Panchali


More of Ray’s work, along with commentary, is available at  The Guardian