Apple’s latest Chinese New Year short film, a ten-minute clip titled ‘Glad I Met You’, arrived right in time for the celebration, shot entirely on iPhone 17 Pro. Director Bai Xue and TBWA\Media Arts Lab Shanghai collaborated to combine live-action footage with Buck’s stunning stop-motion animation.
Every aspect in the film’s animated sequences exists in the actual world, including minuscule puppets with bones built in, bespoke mouth forms that vary for each frame, and miniature settings made under studio lights. The animators had to physically move the parts millimetre by millimetre to get those little expressions and movements precisely perfect, giving you a true insight into what’s going on inside the characters’ thoughts.
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Glad I Met You revolves around Lin Wei, a young woman who always prioritizes others, even when it leaves her exhausted. She offers to look after a colleague’s hamster during the holiday break, and the next thing she knows, she encounters a stray canine named Little White. That chance encounter shakes things up and changes Lin Wei’s perspective on life; the rest of the story unfolds with a gentle, easy-going humour and a lot of genuine emotional weight, eventually leaving you feeling quite uplifted and the simple joy of making an unexpected connection.
Pet adoption emerges as a pleasant natural theme, with little fanfare or emphasis. Apple has consistently prioritized the iPhone Pro as the primary camera. Some of the phone’s notable capabilities are on display at times, such as 4K 120fps slow-motion stretching out a pivotal scenario in which Little White races towards Lin Wei, evoking the emotion of the moment. According to Director Bai, this enhances the moment’s impact. The phone’s compact size has also come in helpful for shooting the animals, as there are fewer distractions than with larger equipment, according to lead animal coordinator Hao Shuai. Other capabilities, such as 8x optical-quality zoom, Cinematic mode, Action mode, and exceptional low-light handling, have all contributed to the smooth transition between live-action and close-up animation.
Buck’s Ege Soyuer was rather proud of the stop-motion approach, as everything on film in those scenes was handcrafted, moved with care and deliberation, and had some real-world presence before it made it to the screen. That palpable nature gives the animated segments a tremendous warmth, and you can get a feel of what’s going on in the dog’s thoughts through subtle movements rather than large chunks of dialogue.
