Commercials 30 trident burst
Homecorp’s Jon Yeo-directed Trident Chewing Gum commercial for JWT features a spectacular ice meteor shower created by Big Buoy. “The most challenging part was to create a meteor shower that looked beautiful and not threatening” so Big Buoy created concept art based on visual references and art direction from Yeo. Once approved, the concept art was replicated in cg by vfx artists Jon Wood and Gerald Chrome. Big Buoy’s senior Flame artist Jim Allen attended the shoot in South Africa to capture camera data for the animators to use in the complex tracking shot.
sony pure football
This TV commercial for Sony, produced by Academy for Anomaly, was director Jonathan Glazer’s first stereoscopic spot. Soho’s vfx boutique One of Us, led by vfx supervisor Tom Debenham, completed the stereoscopic post and vfx work. “Jonathan Glazer is a long-term collaborator and got us in at the planning process – choosing cameras and testing. We had a lot of conversations about the right cameras, and did lots of tests,” says Debenham. “It’s the first time for Jonathan Glazer working in stereo. I’d done some iMax stereo before but nothing recently, so we went on a voyage of discovery to find out what works in stereo.”
As well as the stereo aspect, there were specific vfx shots to take care of, says Debenham. “The World Champion body builder Markus Rühl is in the spot, and it was Jonathan Glazer’s idea to turn everything up to 11 as the whole experience of 3d is supposed to be bigger and better. So the idea was to make the body builder even bigger and expand him up a bit.” “We knew we were going to be expanding the body builder so had to put blue tracking markers on his greased up body and make sure we had enough information from multiple cameras,” says Debenham. “We then rebuilt him in cg and re-projected him to expand his muscles. It’s fairly invisible in the finished piece, but then, if you’d have really noticed it, we’d have done something wrong.”
Other vfx work carried out by One of Us included adding “quite a few extra footballers, in the interest of continuity between shots,” says Debenham. “We also did things like adding shards of glass to the exploding cabinet, though these weren’t used in the end.” Grading the piece was “very much more complicated” in stereo, he says, “matching shot to shot and eye to eye.” One of Us made both a 2d and 3d version, with the 2d version treated in such a way as to provide a kind of “fake stereo” effect, so you know it’s a 3d ad. “There was lots of to-ing and fro- ing to get that right,” says Debenham.
34
www.televisual.com I November 10
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44