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How A52 Helped Lance Acord Deliver The Moon For Volvo

Turning Day Into Night With The Help Of Digital Tools By DMN Staff Writer
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Visual effects and broadcast design powerhouse A52 released details of their visual effects work for Park Pictures and director Lance Acord for Messner Vetere Berger McNamee Schmetterer/Euro RSCGs new Volvo Cross Country campaign.

The five-spot package included one :30, ?Moon, that debuted nationally on Sept. 5 and especially highlights A52s visual effects capabilities. ?Moon features the moonlit trek of a new Volvo Cross Country across salt flats near a lake, with silhouetted mountains framing a star-lit sky.

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As it happens, director Lance Acord lensed the travelling car footage during the daytime in the Bonneville Salt Flats, relying on A52 to grade it and composite-in and effect all the other elements including sky, water and moon, as well as the hero cars head and tail lights and its overall lighting, shadowing and reflections.

?Every aspect of what you see in the finished spot has been touched and effected by our artists in some way, explained A52s project producer Leighton Greer, who participated in the location production together with A52s project visual effects supervisor Dan Sumpter.

?Considering how much we had to accomplish in a limited amount of time, having the technical expertise from A52's team on the set was critical to the success of this shoot, said MVBMS producer Sarah Cole.

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?During production, I know that Dan and Leighton were conferring constantly with the director to make adjustments so that we'd have exactly what we needed for the finished spots. ?It was a very well-planned and efficient shoot, said A52s Dan Sumpter. ?We shot five commercials in a matter of days and really got everything we needed.

?For the ?Moon spot, Sumpter continued, ?I mostly used a combination of the grading tools and the tracker in Henry Infinity. The moon reflection shot at the end was aided by some of the tools Inferno has for displacing elements in a watery fashion, and we actually built an articulated matte in the Flame for one other shot. Also, since the Flame has a slightly more sophisticated ability to move things in three dimensions, it fell upon Flame artist Mark Loso to add a water element into the second-to-last shot. Other than that, 95% of the grading and all of the compositing was done in Infinity.

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Finally, Sumpter summarized A52s sentiments on the many strengths of the campaigns creative team. ?They obviously had a very strong idea as to what they wanted. Everything was very well scripted and photographed but I think they also took every opportunity to use the post process to add to the finished spots. Other spots in the campaign include :30s entitled ?Airplane, ?Chair, ?Nest and ?Security.

In addition to Sarah Cole, MVBMSs campaign creative team also included creative director/copywriter Michael Feinberg, senior art director Yvonne Desanti, partner/ creative director Michael Lee and partner/executive producer Tom Meloth. The team from the agencys in-house Berwyn Editorial included post producer Maria Santiago, supervising editor Scott Gibney, editor Jeff Ferruzzo and assistant editor Jerome Wilson.

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Related Keywords:A52, Volvo, Flame, Quantel Infinity, special effects, compositing, digital, film, commercials

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