Broadcast News
15/02/2008
Rushes Headache Quick Fix For Tandem Films
Rushes has completed a new 10 second sequence to fit within an existing film for Anadin Ultra for Tandem Films.
The brief from DDB London was to create the feeling of a high speed photosonics shoot incorporating two different coloured liquids to represent the key ingredients of the product and a metaphor for the way Anadin deals with pain.
Rushes’ Head of 3D, Jonathan Privett said: “I did a quick test using Realflow to show the clients what was possible and also to illustrate the drawbacks inherent in using a simulated fluid solution. The problem lies in the Navier-Stokes equations that define fluid flow. Since they can’t be solved directly a numerical method has to be employed which is computationally very costly to do with precision. The upshot is that a photorealistic result is not achievable in all situations.
“To overcome this we produced an animatic using Realflow of the whole sequence that played to its strong points and still allowed freedom for the clients to make creative decisions. Once the basic layout was completed the team continued working in Maya and Realflow to get the fluid mixing, lighting and texturing perfect.”
The commercial for creative partnership Steve and Dan at DDB London took six weeks to complete and was layered using depth of field effects in Flame by Flame Artist Marcus Wood.
The director was Dave Daniels and the producer was Lynn Hollowell.
For more information on Rushes: www.rushes.co.uk
(DS)
The brief from DDB London was to create the feeling of a high speed photosonics shoot incorporating two different coloured liquids to represent the key ingredients of the product and a metaphor for the way Anadin deals with pain.
Rushes’ Head of 3D, Jonathan Privett said: “I did a quick test using Realflow to show the clients what was possible and also to illustrate the drawbacks inherent in using a simulated fluid solution. The problem lies in the Navier-Stokes equations that define fluid flow. Since they can’t be solved directly a numerical method has to be employed which is computationally very costly to do with precision. The upshot is that a photorealistic result is not achievable in all situations.
“To overcome this we produced an animatic using Realflow of the whole sequence that played to its strong points and still allowed freedom for the clients to make creative decisions. Once the basic layout was completed the team continued working in Maya and Realflow to get the fluid mixing, lighting and texturing perfect.”
The commercial for creative partnership Steve and Dan at DDB London took six weeks to complete and was layered using depth of field effects in Flame by Flame Artist Marcus Wood.
The director was Dave Daniels and the producer was Lynn Hollowell.
For more information on Rushes: www.rushes.co.uk
(DS)
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