Broadcast News
29/10/2004
The Mill goes to the 'Edge' of the Earth for Landrover
‘Edge’ is the stylish story of an epic journey spanning East to West, metropolis to countryside, desert to Arctic.
Passing all manner of life in his quest to reach his destination, the Landrover driver finally steps out of his car to breathe-in the dramatic drop at edge of the world. The camera pulls out to reveal a spectacular ledge of layered geology floating in vast emptiness.
This final ‘money shot’ was created entirely in CG. The car was shot on a flat plane at an angle whereby the land could be ‘sliced off’ in order to create the effect of ‘the edge of the world’. The sheer drop, showing layers of various rock, was modelled in 3D and then fleshed out by painting a detailed texture map onto its surface.
Reference for these textures came from digital stills taken on location in Argentina by The Mill’s VFX supervisor, Andrew Proctor. Andrew also used these stills as starting points for creating digital mattes. Background plates were provided by hi-res stills pulled from Paul Harrison’s telecine session. To finish off this immense and magnificent 3D shot, a dynamic camera move was choreographed using a 3D camera to illustrate the apparently endless scale of the environment.
The air date for the ad directed by Kevin Thomas is November 1, this year.
(SP)
Passing all manner of life in his quest to reach his destination, the Landrover driver finally steps out of his car to breathe-in the dramatic drop at edge of the world. The camera pulls out to reveal a spectacular ledge of layered geology floating in vast emptiness.
This final ‘money shot’ was created entirely in CG. The car was shot on a flat plane at an angle whereby the land could be ‘sliced off’ in order to create the effect of ‘the edge of the world’. The sheer drop, showing layers of various rock, was modelled in 3D and then fleshed out by painting a detailed texture map onto its surface.
Reference for these textures came from digital stills taken on location in Argentina by The Mill’s VFX supervisor, Andrew Proctor. Andrew also used these stills as starting points for creating digital mattes. Background plates were provided by hi-res stills pulled from Paul Harrison’s telecine session. To finish off this immense and magnificent 3D shot, a dynamic camera move was choreographed using a 3D camera to illustrate the apparently endless scale of the environment.
The air date for the ad directed by Kevin Thomas is November 1, this year.
(SP)
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