Subaru XV Weather Shield

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Created: 08/05/13
Last Edited: 11/03/13
213
4
1
Description
In this spot the script called for ‘car on car’ action and virtually demanded it be delivered 100% CG. The initial challenge was how to structure the car driving on itself through various weather patterns, and then to establish how it would look and feel. The trick to making the idea work was to subtly signal that all was not as it seemed. The miniature car was given a quirk to its motion, a slight weightlessness in the animation to give a sense that it’s not all quite real. The subtle depth of field effects also helped.

Due to complex camera moves, the environmental elements had to be created - there was no component shoot for the mud, snow and rain. This meant a lot of work texturing the car, and getting mud splats and snow splats right required creating an animated file in Flame for Maya to turn the mud layers on and off as the car was moving. Usually sims are contained in small areas but these areas were huge; finding ways to achieve this was a wonderful challenge. In Maya and Realflow, sims such as the rain took 48 hours for the computer to do the calculations.
  • In this spot the script called for ‘car on car’ action and virtually demanded it be delivered 100% CG. The initial challenge was how to structure the car driving on itself through various weather patterns, and then to establish how it would look and feel. The trick to making the idea work was to subtly signal that all was not as it seemed. The miniature car was given a quirk to its motion, a slight weightlessness in the animation to give a sense that it’s not all quite real. The subtle depth of field effects also helped.
     
    Due to the complex camera moves, the environmental elements had to be created - there was no component shoot for the mud, snow and rain. This meant a lot of work texturing the car, and getting mud splats and snow splats right required creating an animated file in Flame for Maya to turn the mud layers on and off as the car was moving. Usually sims are contained in small areas but these areas were huge; finding ways to achieve this was a wonderful challenge. In Maya and Realflow, sims such as the rain took 48 hours for the computer to do the calculations. 
     
    Agency :Asatsu-DK
    Client :Subaru
    Executive Creative Director :Osamu Saotome
    Creative Director : Junichi Tanaka
    Production Company (Japan) :ADK Arts Inc
    Producer : Tomonari Motobu
    Production Manager : Yusuke Minato
     
    Production Company (Australia)
    Producer: Bec Dakin
    Producer: “MJ” Junji Matsuo
    Director :Jeff Gaunt
    DOP: Ben Shirley
       
    Post Production Company Australia : Cutting Edge
    Director / VFX Supervisor :Jeff Gaunt
    Producer: “MJ” Junji Matsuo
    VFX Producer: Flavia Riley 
    VFX Coordinator: Jessica Vines
    3D Artist: Rob Conn , Jake Hempson, Phil Jackson, Matthew Hermans, Richard Deavin, Matt Dye
    Nuke Composite : Lars Andersen
    Lead Flame Composite : Antony Haberl
    Flame Composite : Steve Leacey
    Music Composition / Mix Engineer: Mike Lange

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