16: FILM CRAFT (OUTSTANDING SPECIAL EFFECTS)
JPG
MP4
1m:48s
Burberry - Festive - Burberry
Fashion
Grand Prix
| Title of Entry: | Burberry - Festive |
|---|---|
| Brand: | Burberry |
| Product/Service: | Fashion |
| Client: | Riff Raff Films |
| Entrant Company: | MPC |
| Creative Team: | Agency & Production: Riff Raff Films Creative Direction: MEGAFORCE Executive Producer/Owner: Matthew Fone Producer: Nick Goldsmith Production Managers: Hannah Fowles-Pazdro & Georgia Mills Choreographer : (LA) Horde 1st Assistant Director: Ben Gill DOP: Katelin Arizmendi Gaffer: Richard Oxley Stylist: IB Kamara Production Designer: Marco Puig Stylist: Lucy Fewell SFX: Paul Mann & Neil Gawthrop Sound Design: Sam Ashwell 750mph VFX & Colour Grade: MPC VFX Producer: Ryan Hancocks 2D Lead: Alex Lovejoy 3D Leads: Fabian Frank & Rob Richardson Colourist: Matthieu Toullet Colour Assist: Maruf Khan 3D Artists: Miquel Corominas, Ronald Anzenberger, Alican Gorgec, Gareth Bell, Hodei Garcia, Stephane Ranaldi, Alessandro Granella, Flavia Minone, Mike Little, Lewis Orton & Radu Ciubotariu 2D Artists: David Filipe, Mithun Alex & Lucie Brant Producer: Abhinav Sharda Senior Production Coordinator: Sakshi Gaur CG Supervisor: Parthiban S E 2D Supervisor: David Rouxal Matchmove Supervisor: Elangovan Ganesh Asset Supervisor: Kunal Sarkar Asset: Jaspreet Kaur Dua 2D Comp: Amresh Kumar Clean-up & Roto Artists: Vipin Tripathi, Aginesh K M, Karthikeyan M D, Pramod Dwivedi, Arulnandhan P, Bijeesh K U, Kiran Veerswarapu, Padmapriya K, Sangeetha M, Sreejimol C P, Jaswan Vishnu Prasanth, Suresh Pitchuka, Rajnikant R, Shawn Shaiju, Karthik S, Manideep Sanisetty FX: Alok Dwivedi, Parts Bisen Lighting: Earnest Victor Mauel, Arun Sharma |
| Other Credits: | Client: Burberry Chief Creative Officer: Ricardo Tisci Chief Marketing Officer: Rod Manley VP Creative: Rachel Crowther Art Directors: Al Watts, Sean Bell Director of Production: Rose Percy Senior Producer: Asha Joneja Producer: Cara Gillies Production Coordinator: Rebecca Haddaway Post Production Senior Manager: Luke Stazaker Styling Editor: Susie Miller Junior Styling Editor: Fran Dyke Assitant Stylist: Jack Clements Cast Dancers: Zhane Samuels, Kevin Bago, Robinson Cassarino, Chantel Foo Song and Music Song: "Singin’ In The Rain" Written: Nacio Herb Brown & Arthur Freed Published: EMI Music Publish Ltd Vocals: Dreya Mac Produced & Arranged: Lank and Tank, Twenty Below Music Music Producer: Emily Pritchard, Twenty Below Music |
| Sector: | N/A |
| Notes: | The choreography of the dancers demanded extremely precise timings and placements for the ice blocks, it was essential the directors had a strong vision for their behavior. It seemed obvious early on that we needed a flexible and scalable approach to place and animate the elements in a real-time environment. Placement and animation We precisely manipulated the start fall time, height, impact position, type of ice shard and type of simulation of individual pieces to perfectly choreograph the ice with the dancer’s performance. In real-time we rotated the simulated end result in a way that fitted well to the plate and the movement of the dancers. Custom code calculated the fall and spin so the impact orientation matched the placement perfectly. The floor was not at origin, we used our instance tool to ray project the fragments of the ice to the ground height in order to snap the ice solidly to the floor, no matter where it was positioned. Generic procedural placement with animatable amount over time While the interactive placements were central to the story we needed methods to populate large areas of the plate in the background whilst maintaining consistency between shots. To simplify the process and maintain continuity we imported end positions of previous shots directly as a Point cloud and merging it with a dynamic Point cloud. Converting hero placed pieces into live simulations For the pieces of ice that the dancers interact with we used a custom module that visualised the direction that the pieces fly, the plug in allowed us to decide on how many chunks exploded as well as velocity and textures on how the ice would behave in an easy to use interface that the lighting department could use in addition to the FX team. Converting any piece of geo for floor interaction One of the most challenging sections was to master the floor interaction, as ice placements could be generated manually or procedurally we needed a system that could process the result and dynamically convert them back to live simulations when a dancer walks through it. Artificial Intelligence Using AI technology, we were able to generate automatic rotoscopes for the dancers and main objects in the shot. This was vital as it enabled us to present quick composites to share with the clients - essential for approval purposes. Deep Comp The dancers were performing within numerous layers of CG ice sometimes at different depths and moving from background to foreground within the same shot. Deep compositing was pivotal for achieving the level of complexity and integration. We placed our hold-outs of the dancers precisely where they would have been in 3d space within the raining CG ice. Ice Reference Capturing data on set was essential, we took photogrammetry of the streets and referenced real ice blocks shattering. This was used as the base for our CG that matched exactly with the live action. |
