When it comes down to projection mapping, the creative process is strictly connected to more tangible limits, like the space and the ambience light of the “stage”. First of all, the room must be as dark as possible and there must be enough space for the projector to “throw” its light onto the surface. At the CR Annual launch party I had a narrow room of approximately 4sq meteres, that could allow 6 people maximum at each time. The main problem that I had to face were the possible shadows that the viewers could have cast with a usual projection. That could have completely killed the installation. To solve this problem, I tried to create a back-projection mapping (my very first time and, as far as I know, the first ever). I modelled the “stage” in 3D and played with it in Cinema4D: a truncated rectangualar pyramid could morph into an infinite corridor. Escher, there’s no need to say it, has been the main reference for my animations: playing with different camera focals, inverting the perspective of the pyramid and creating holes, I wanted to cheat the reality. The black and white worked perfectly to enhance the contrast of the projection itself. To allow the back-projection, I’ve built the pyramid with a laser cut clear cast acrylic and covered with frost film to allow the light of the projector to bounce on it. I suspended the pyramid with fishing wires to the ceiling, trying to give the illusion that the structure was floating.
The abyss could be a really dangerous place. The great angler fish is looking for prey. But a bright survival instinct can be a real showstopper.
I’ve done this video, as usual, with Cinema 4D R15 and After Effects.
I started modelling the fishes, really low poly. After doing the UVs, I rigged them, mainly with IK with dynamics. Then I’ve sculpted them in Cinema 4D, baked the displacement, normal and occlusion. I’ve created all the texture in Bodypaint. The lighting is just a simple 3 light set up, area shadows with some nice falloff. I’ve done the compositing in After Effects, where I’ve enhanced the glow of the light bulbs, added some DOF and overall grain. The sound is done in Logic.
The brief was to envisage the Fluid credit card commercial reflecting the unique tone and attributes the card offers to its customers. We wanted to play on key words taken from the script such as engineered, uniquely advanced and beautifully simple.
We saw the card echoing the aspirations usually reserved for products such as Apple and Audi, we intended on creating a visual animation which showcased the Fluid card in such a way that the viewer came away with the feeling that the card is more than just a credit card, it’s a beautifully crafted product of design, a carefully thought out technological masterpiece designed specifically for them.
Everything from the sharp simplistic edges of the card to the individual moulded letters of the customers name would all be considered and engineered to deliver simply the best credit card on the market today.
I’ve worked on the motion graphics on the back of the card and on the first two shots as well as on the 3d lights.
Agency – Media Ingenuity Director – Dan Andrew Post Production – The Studio London – C4D / Realflow / Nuke / Smoke
So, the whole world thought to have witnessed to a olympic rings failure, during the Sochi opening cerimony. Guess what, the whole world didn’t know the new discipline! The Bear-Ski-Jumping-Closing-Ring sport is about to begin!
Starting from some A4 paper sheets, I’ve created the rips that I wanted, scanned them at high resolution and then I used these rips on the maps. I’ve been careful to follow the required borders, trying not to lose the nice details that the paper naturally has. In Cinema 4d then I’ve overlaid the maps and applied the required distortion, to create the rips. The mattes had to match precisely so you couldn’t see the rips at the beginning of the shot. On shot 1 and shot 2 the globe had to be glossy. I’ve used three different hdri maps to get to the required look. I’ve done the compositing in After Effects, where I’ve added the particles of the torn paper. The final grade has been done in Resolve by Dan Moran. Director: Natasha Brinsden
The Studio worked with Ceri Payne at Discovery on his latest Christmas ident for TLC. The idea was simple and involved having Christmas lights hanging in a snow covered wood. The team modelled CG lights and some trees along with digital matte projections of woods and snow covered forests to create the scene. The Studio had 5 days to complete the whole project. Merry Christmas!
I’ve done all the 3d, modelled the trees, the logo signs, the light bulbs and their animations. Because of the tight deadline, I opted not to use any Global Illumination or external render engines: all has been done with 3 lights per shot, to fake the light bounces as well. For the enshot I used a bit of Subsurface Scattering to give the idea of lights behind the semitransparent plastic of the TLC logo.
For Animal Planet rebrand we worked really close with the director, David Bez. Following his directions, I’ve done a bespoke logo in Cinema 4d for each shot, matching its lights. The different passes (specular, reflection, shadow, ambient occlusion and diffuse) helped us in the compositing stage. We had to deal with a lot of different shots, and each one had a unique way to solve the idea. One of the funniest jobs I’ve ever done! Client: Discovery Channel Director: David Bez Post-Production: Guillaume Weiss / Nicola Gastaldi / Nicola Destefanis @ Smoke&Mirrors Grade: Dan Moran @ Smoke&Mirrors