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Studio "Rethinks Everything" for VFX Heavy Spot

Studio "Rethinks Everything" for VFX Heavy Spot (June 13, 2006)

RIOT literally moved heaven and earth to deliver a new effects-driven spot for Hyundai. The studio assisted in the design, and provided visual effects, color correction and post production services for the visually-rich spot, which presents a topsy-turvy world to underscore the radical thinking behind the automakers new Sonata.

Titled World on Its Head, the spot out of The Richards Group shows a Sonata driving along a city street as its environment slowly turns upside down. People, furniture, bicycles and lots of other cars are sent tumbling through the air, but the Sonata continues its journey, hugging the road, unperturbed. As the car drives off, upside down, toward the horizon, a graphic appears reading ?Rethink Everything.

RIOT was involved in the production of the spot from pre-production design through final delivery. Members of the studios creative team accompanied Director Gerard de Thame on a scouting mission to downtown Los Angeles and took numerous photographs that were used to reconstruct several square blocks of the city in CG. Artists then used the CG environment to previsualize the entire spot and indicate shot selection, the hero cars movement, camera placement, camera movement and, most importantly, how things were going to fall.

?We placed low-rez digital people and tons of digital debris into the previz, explained RIOT Executive Creative Director Andy MacDonald. ?We had sliding cars, things toppling and people hanging onto stuff. We wanted the director and the agency to see what things looked like when they moved. Its hard to grasp how things are going to behave until you see it?or where the creatives opportunities are to tell a story.

Once the previz was complete and approved, RIOT used it to produce a document that served as a menu for the production, detailing such things as the shot list and lens choices, as well as talent, prop and miniature requirements.

The production included an exterior shoot in downtown Los Angeles and a 4-day stage shoot for visual effects elements. On stage, a 20 by 20 motion platform was used to simulate tilting floors and streets and to cause people, furniture and vehicles to slide. Additionally, stunt men were shot diving off rafters onto thick air bags, 25 feet below.

?The people were shot in slow motion so that, when they were composited into background plates that were shot at normal speed, they appeared to cover a long distance, MacDonald said. ?We shot each person from multiple angles so that, in the edit, we could maintain continuity in the actors performances as they progressively moved from scene to scene.

Many of the vehicles, including a large SUV that tumbles through the background near the top of the spot, were shot as miniatures. Other elements, including some of the people, were digital characters.

Naturally, there were a tremendous amount of details to manage. Each of the hundreds of bits of debris needed to move with the same relative motion. When people were falling, their hair and clothing needed to be fluttering in the right direction. ?We took that into account in our previz and during production we brought along a couple of computers to do temp composites, MacDonald observed. ?Everything had to move at the same velocity; the shadows and reflections had to be consistent.

Despite the hubbub going on around it, the car had to be the focal point of the spot. RIOT Colorist Siggy Ferstl made sure that attention remained fixed on the product by subtly manipulating its color. ?We isolated the car and colored it separately from the background, he explained. ?We made the background quite warm, but kept the car neutral and that helps it to pop out of the scene. The car makes a statement.

With post production confined to a mere ten days, the crew at RIOT worked feverishly to complete the composites. When, on the night before the spot was due for delivery, it was decided that more people were needed to fill out the street scenes, MacDonald staged a green screen shoot at RIOT using studio staff as talent and added them to the scene.  ?We felt the job needed it, so we did it, MacDonald noted. RIOT has offices at 702/730 Arizona Ave., Santa Monica, CA 90401 and at 545 Fifth Avenue, New York, NY 10017. In Los Angeles, contact Matthew McManus or Michael Taylor at (310) 434-6000. In New York, contact Connie Griffin or Luis Ribeiro at (212) 907-1200.

RIOT Atlanta is located in the Buckhead section of Atlanta. For information, contact Debbie Maddox at [email protected] or by phone at 404-237-9977.


Agency: The Richards Group, Dallas. Steve Levit, brand creative group head; J.R. Dixon, producer; Bob Brihn, art director; Tina Johnson, writer; Eric Block, account director.

Production: HSI Productions. Gerard De Thame, director; Fabyan Daw and Maddi Carlton, executive producers.

Editorial:The Whitehouse. Kevin Zimmerman, editor; Gail Butler, producer.

Telecine:RIOT.  Siggy Ferstl, colorist; Rhubie Jovanov, executive producer; Matt Moran, producer.                  

VFX:     RIOT. Andy MacDonald, creative director/VFX supervisor; Andy Davis, lead compositor; Wensen Ho, Kelly Bumbarger, Sean Wilson and Simon Holden, compositors; Kurt Lawson, Cecile Tecson, Robert Tatum and Josh Bolin junior compositors; Andy Lesniak, Richard Wardlow, Mike Johnson, Marcus LeVere, Dave Carlson and Ron Griswold, Casey Schatz, Joshua Wassung, Brian Weaver, CG artists; Matthew McManus and D. Todd Davidovich, VFX executive producers; Robert Owens, VFX producer; Ananda Reavis, associate producer; Susan T. ONeal, head of production.

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Related Keywords:RIOT, Hyundai sonata, Rethinks Everything, VFX, SpotStudio , commercial, visual effects, color correction, post production


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