We worked closely with Director Austen Humphries to achieve great results on these three spots.
This is type of project that only comes once in a while, it’s one of those exciting one-off projects where it was possible to really push the boundaries and create something unique and super stylised.
We all really got into this project and everyone put their oar in, and I believe the results show just how incredible the talent was in the team we had.
When I look back at the results, it’s hard to believe what we started with. Zlatan was lit in a studio environment, and we had little idea of just how he would sit within these surreal worlds we were creating.
We started by collaborating with the matte painting team, who designed these fantastic landscapes, then it was all down to the compositing team to bring it all to life.
For the volcano spot our comp team hand animated the lava, added elements such as lava explosions, sun flares, embers, and lens dirt to help tie the scene together.
The biggest challenge in ‘Volcano’ was one of the wide shots. It turned out that we had to create detailed geometry in order to project the matte painting onto, allowing to create a camera movement following the ball towards the volcano.
In ‘Tiger’ our team worked tirelessly to integrate the life action tiger, which was shot on green screen, and the matte paintings were enhanced by adding the movement of cg particles;
snow, mist and fog.
I can personally say that as co-lead on the job, that I am very proud of the team involved and over the moon with the final results.