Broadcast News
07/10/2004
Mill complete surreal Hutchinson 3 spot
The first spot from Hutchinson 3’s new campaign about sharing goes from the bizarre to the outright surreal as two Asian techno cowboys drag a giant jellyfish back to town, feed it an illegal-looking substance and gaze wondrously as it comes to life. Soon the cowboys and jellyfish are dancing in tandem, cutting some slick moves as they go.
The Mill helped Fredrik Bond achieve his wild vision by adding post-produced life to the model jellyfish, as designed by Hollywood model makers, Stan Winston, through dancing tentacles built in 3D. This entailed some serious jellyfish research from the 3D team, as led by Jordi Bares, who meticulously studied their natural movement and texture. Bares attended the shoot in LA to ensure that all 3D lighting exactly matched the shoot location’s lighting conditions. Once animated, the tentacles were meant to interact with the actors as they lit-up, so Fredrik shot various passes using differing light patterns. Bares then used these light paths as positioning reference for the 3D tentacles, so that the light source on the actors and 3D elements remained constant. Flame was used to further enhance this lighting consistency. The Flame team was also responsible for fulfilling Fredrik’s brief of a ‘pseudo Asian neon city’ by adding fluorescent elements to both exterior and interior shots.
(GB)
The Mill helped Fredrik Bond achieve his wild vision by adding post-produced life to the model jellyfish, as designed by Hollywood model makers, Stan Winston, through dancing tentacles built in 3D. This entailed some serious jellyfish research from the 3D team, as led by Jordi Bares, who meticulously studied their natural movement and texture. Bares attended the shoot in LA to ensure that all 3D lighting exactly matched the shoot location’s lighting conditions. Once animated, the tentacles were meant to interact with the actors as they lit-up, so Fredrik shot various passes using differing light patterns. Bares then used these light paths as positioning reference for the 3D tentacles, so that the light source on the actors and 3D elements remained constant. Flame was used to further enhance this lighting consistency. The Flame team was also responsible for fulfilling Fredrik’s brief of a ‘pseudo Asian neon city’ by adding fluorescent elements to both exterior and interior shots.
(GB)
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