In our first collaboration with director Patrick Daughters, we teamed up with long time clients W+K Portland to bring you the launch of the Sony 4K television.
Bold colors help tell the story of the lonesome away fans caught amongst the swelling tide of the home fans. Patrick’s beautifully art directed sequences were augmented by a52’s crowd simulations and renderings in CG. Bringing the photography and CG together was the seamless 2D integration provided by our flame compositors.
The first three spots in a Target Holiday campaign that we were lucky enough to work with 72 + Sunny and Jonas Akerlund on have hit the airwaves just in time for the start of the holiday shopping season. Magical CG characters and impeccable compositing courtesy of the fine artists at a52 populate the beautifully designed worlds from the mind of Jonas Akerlund.
Keep checking back for more spots in the campaign as the holidays are quickly approaching.
Kicking off the London 2012 Olympics with a bang. We were tasked by TBWA/Chiat Day with bringing four classic Olympic moments to life in a new way. Using archival footage as a starting point we used CG & careful compositing to enhance these moments— bringing us closer to the action. Hopefully the first of many great Olympic spots to come this year.
What could be more fun than blowing up things? Doing it with Matt Asselton and 72 + Sunny in Buenos Aires. At least that’s what VFX Supervisor Andy McKenna said after returning from the three day shoot in BA.
Matt was intent on focusing on the performance given the dry comedic spokesperson for the campaign. So having Andy on set with him was a tremendous asset. Combining multiple live action plates, FX elements, matte paintings and CG aliens quickly grew to an inordinate amount of work.
Production designers laid the ground work in BA with incredibly detailed art direction for the foreground elements. But making BA feel like Armageddon was no easy task.
Once everyone returned to LA, the heavy lifting began. 3D matte paintings were designed for use in multiple scenes. In particular, the devastated apartment that seconds as a base jumping platform uses a matte painting that consisted of about 70 layers giving the scene outside depth and complexity. On top of that, the alien that poses for the hosts’ cameraphone was an original a52 design created entirely in CG. Alien spacecraft, meteors and explosions rounded out the contributions from the CG department.
“Working with Matt is always a pleasure,” McKenna commented. “But he definitely had the right idea in BA. If you ever get the opportunity to go there in the summer to blow up some stuff, make sure you get a couple of bikini girls in there for good measure. Makes the shoot day go a lot faster.”