As we were nearing the end of reading Jaron's treatment for this Coke Burn project we'd already decided we had to get involved. Some mails end up in your inbox for a reason... The words conjured up amazing imagery and having worked with Jaron before, we knew it would be a Time Based Arts classic.
The film follows the vivid dreams of five freerunners as they jump and leap their way through a disused warehouse. Their abstract visions pulled from their dreams and projected into the space. As the film progresses the projected theme becomes more evident and the texture of the warehouse begins to show through. It ends on a reveal of the space as the projections switch off and the runners meet in the hub of the building.
The challenge in the beginning was to develop the look of the dream-like/projected backdrop for the piece. It had to feel projected but not give the away the concept too early in the film. What would it look like if you could back project something 5 stories tall on to concrete and from every direction. We think something like this.
Most shots were camera tracked and rebuilt in Nuke or 3D. We built bespoke textured warehouse features into each scene and it was all brought together in Flame. We created a dark and moody ocean for the first scene and additional 3D fire and smoke for the final vignette. We then graded the imagery throughout to maintain the muted feel that Jaron shot for.
Look out for the directors cut, with 'bonus' dream sequences coming soon.
"Last Man Standing"
We ended 2012 with this stylised piece for Lucozade Sport directed by Johnny Hardstaff (RSA) through Grey London. We've been following Johnny's work since the inspiring and game changing shorts 'The History of Gaming' and 'The Future of Gaming' through to his recent work for Ridley Scott's Prometheus. Understandably we were pretty taken to be working with him at Time Based Arts.
The film captures the contest of Lucozade vs. Water, introducing a new scientific claim, that Lucozade Sport hydrates and fuels better than water under scientific testing. Twenty four competitive athletes go head to head, half fuelled purely by Lucozade and the other by water. The action takes place under laboratory conditions monitored by a group of GSK scientists.
Johnny's attention to design is apparent throughout the film. Location, art direction, costume, sound, grade and the design of the graphics all marry together to create a unique image that personifies the idea perfectly. We helped out with realising his designs for the screens, developing a thermal imaging look, animating the stats and comping them into the footage. Luke supervised the shoot and lead the VFX team back at TBA. A nice 2 week run in to Christmas and a great end to of our exploits for 2012.
It’s not often that a script arrives that manages to tick most of the boxes on our vfx wish list, but this was just the project. It’s a stand out campaign commercial for the latest European wide Vodafone network and came to us via friend and exec producer Christoph Petzenhauser at Radical Media Berlin.
We were delighted to be able to work with Sebastian Strasser in bringing his vision for the film to life.
The spot was shot in Hong Kong by Hoyte van Hoytema (Tinker Tailor, Soldier, Spy) with Sheldon Gardner vfx supervising for Time Based Arts. It was a huge campaign spot and shot over six long nights in multiple Hong Kong locations.
Every section of the film had a large degree of vfx work – The beauty of the opening scene in the street market for example disguising the fact that it was built from many passes and layered up to build the rich and atmospheric establishing wide shot.
Ahead of the shoot and throughout the post process we developed the look and feel of the lighting effect closely with the director and client. This was important as it acts as the narrative thread throughout the spot. It had to work on the widest range of scales - whether being emitted from a phone held in the hand or being seen spreading across continents from space.
Then there were the obvious challenge of creating photo real creature effects in the form of the fluking humpback whale and it’s naturalistic inter-action with the water - always a huge technical vfx challenge. This was built up by using a variety of techniques and executions to embed the computer generated tail. These included cgi water simulations, shot textures captured here at our studio and source imagery from the location itself.
Sebastian’s attention to detail was incredible and the nights were certainly long but we love an exacting director here at Time Based Arts and we're very proud of the results.
"All people at TBA are creative, perfectionistic, highly professional and on top of all warm hearted.
Even a grumpy, never happy director like me has to confess: it is simply a pleasure working with them."
The commercial was turned around within a demanding two week post production schedule.
We have delivered the ultimate road trip for the latest Lexus GS commercial from CHI & Partners, directed by long term collaborator Anthony Dickenson through Pulse Films.
The new GS 350h is driven through a dizzying array of environments, from slick city streets to forests to highways in the Midwest. The ad was inspired by the efforts of the chief engineer of the Lexus GS, Yoshihiko Kanamori, and his team, who drove the car a million miles around the world during its development.
Our involvement started when Antony approached us to discuss how he wanted to apply stop frame photographic techniques into a seamless journey. We tested with different rigs and setups before settling on a Canon 5D MarkII shooting RAW exposures every second with the camera vehicle moving at 30 miles per hour. This became a constant for the multiple shoot days that occurred around the world including California, South Africa, Namibia and Iceland. This constant movement forward allowed us to begin to stitch the images together, finding links between the forever encroaching landscapes, until it's very hard to see which element is taken from which location. In doing so we created a seamless impossible road that transcends multiple locations, continents and seasons.
All of the car material was shot in Los Angeles where the only examples of the new car were available. This included a day in the studio where one car had it's roof removed to allow a MILO motion control rig to travel through the car and into the sat nav screen on multiple lighting passes. The interior roof of the car was replaced in post with sgi assets.
Other key areas included the "neurones" end sequence which was designed and brought to life by Oscar Gonzalez.
All in all it was a huge project for us here at Time Based Arts, one which we were really able to craft and bring ideas to, under Anthony's direction. The difficulty and complexity of it's execution we hope is suitably disguised by the commercial's overall effortlessness to watch.
Jason Kedgley and Michael Horsham of Tomato push Time Based Arts to create an abstract film illustrating the best of now for MSN.
3D artist James Healy began the process. Working closely with the directors he developed and evolved many visual interpretations of ideas born from the script before filtering these down to create a common aesthetic that runs through the 8 distinctive vignettes. In parallel Jess Gorick worked up the overall edit and the animation of the typographic elements. Additional 3D development was added by Oscar Gonzalez and Chris Wood and then Remi Dessinges skilfully brought the 3D to life with some brilliant lighting and rendering. The 2D and 3D elements were then passed to the guys in Flame. Sheldon, Mike and James worked-up the images further, defining the composition, look and grade of the piece.
Projects like these give everyone an opportunity to show off their design skills and creative flare. Just the kind of stuff we love. It was also a great opportunity for Time Based Arts to showcase the recently formed 3D arm of the company.
Some of James's reference and working drawings in the studio.
Sprint - "Female"
We jumped at the chance to work with United Visual Artists and Chris Turner on this project for Sprint Mobile out of Leo Burnett Chicago. The ad played out in cinemas across the US encouraging viewers to switch of their phone during the film and allow it to dream!
UVA approached the concept with a vision that was unique and unconventional. They created a huge installation built up of 9 different sections all shot using motion control with imagery synced using their own software D3. Our job was to stitch all the separate passes together to create a seamless journey into the nucleus of the phone. The result is visually arresting and somewhat difficult to grasp given the scale of the units. Check out the stills on our blog from the shoot. They illustrate just how big the phone actually is.
BBC SHAKESPEARE SEASON
Ben Newman and the team at Karmarama have created a 60 second film that celebrates the genius of Shakespeare and how one man managed to capture the human condition.
We were involved in the early stages, working closely with Ben to create a pre-vis which allowed him to visualise the flow of the camera throughout the film.
We then took the footage and crafted seamless transitions between each vignette, added some additional clean-up and atmospheric effects before ending the journey with the beautifully concieved 3D nebula. Big thanks to Yafei and the crew at Important Looking Pirates for their brilliant work on this.
The super talented Ben Newman delivers this high energy shootout from three of the game’s big stars – Wesley Sneijder (Inter Milan), Gonzalo Higuain (Real Madrid) and Alexandre Pato (AC Milan).
The commercial was shot on numerous locations in Spain and Italy across many varying formats.
We worked closely with the director and agency creatives to integrate the typography and deliver the strong graphic execution.
The spot was graded in house at Time Based Arts.
O2 - "Blue"
We completed three of these 30 second spots for Radical and VCCP Berlin. The films were shot on location in New Zealand by Joakim Reveman. We were involved from the early stages designing and planning the FX shots. Sheldon then travelled out to NZ to supervise proceedings.
The three films had to be turned around in a four week period during which Christmas and New Year fell slap bang in the middle. We brought together a strong team and got to work on the Alexa files pre grade in order to get a head start. The VFX work comprised of rig removal, matte painting and set extension, combining live action plates, sky replacements, beauty work and the concept design and CG enhancement of boats in ‘Blue’. Not to mention the embellishment of life into the cute animatronic racoon!
The result is a typically quirky set of ads that sit comfortably amongst O2’s diverse output.
On an early morning in June, Jim and I shared a cab with our friend and longtime collaborator Chris Cairns. It was 6am, we were bleary eyed and fatigued from two days spent in Cannes. Chris was bleary eyed and fatigued having cycled 1000km with the Fireflies. As we settled down for a kip on the way to the airport Chris opened his laptop to have a ‘quick’ chat about Swatch… In that moment we left the summer behind. We returned to the dimmed light of our Flame suites and got busy for the next two months.
We surfaced on the other side with this 60″ film for the new digital Swatch “Touch” watch range. The first digital watch that the iconic brand has designed in over 25 years of production. The piece is an audio driven journey set in a club where everything is musically linked, most notably crowd.
It was shot over 4 days (and nights) in a nightclub in Southwark. It combines multiple formats: RED Epic, Alexa and Phantom. Chris not being one to shy away from gargantuan tasks designed an extensive motion control set-up. It included 40 enthusiastic teenagers on green screen, a synced lighting rig and a synced playback system. All of which were set in motion by a purpose built surface controller that takes centre stage in frame. He conducted this orchestra of technology and impassioned youth like a kind of modern day Beethoven and then handed it over to us to stitch it all together.
We started with the development of the look in Flame. The grade had to balance the character of a black and white image but include the three brand colours of the product. This lead on to the design of the various transitions and the look of the audio based digital distortion. We then tackled the huge amount of technical work that included the 5 huge crowd replication shots. The post had a great mix of design and creative challenges combined with problem solving and technical compositing. Just the kind of job we love…….. to design in the back of a taxi on a french motorway with a hangover at 6am!
The guys at Thankyou designed and built the end device and the music was supplied by Danish producer Trentemoller.
The commercial premiered during the MTV Music Video Awards.
The last time Smith & Foulkes made a commercial for Honda, with the genre changing Honda “Grrr”, it became the most talked about (and awarded) animated ad of the last 10 years. It’s also fair to say that the advertising output from Honda is truly innovative and always eagerly anticipated. We were therefore very excited to be involved in helping to craft their latest collaboration, “This Unpredictable Life”.
The tale is told through a poem recited by Garrison Keillor, the author and radio broadcaster whose gravelly voice has become synonymous with the Power of Dreams campaign from “Grrr” to “Impossible Dream”.
The story follows our character from birth to adulthood, meeting his partner along the way and starting a family of his own. The new Jazz features at the end of the spot, it’s multiple seat configurations cleverly adapt to deal with everything life’s journey brings with it. It’s a typically brave approach from the creative team of Chris Groom and Sam Heath at W+K where only 10 seconds of screen time is given to the car in a 60 second product commercial.
The resulting journey is great fun to watch and speaks volumes for Smith & Foulkes’ ability to embue a narrative with detail, richness and of course charm.
The 3D was skillfully designed and animated in house at Nexus by a 30 strong team of multi-disciplined artists. 3D lead and all round virtuoso Ben Cowell headed up the crew even putting his honeymoon on hold to bring this one in.
Time Based Arts were involved from the earliest stages of the project with Sheldon Gardner helping develop style frames for the pitch. This collaboration from the outset proved fruitful as it allowed for a continuity to the look development right through to delivery.
Smith & Foulkes were keen to contrast the simple character designs with elaborate and atmospheric environments which had to feel expansive and epic. It was a very intense post process as the nature of the look meant that the disparate elements for the scenes (including the animated layers, particles, grading and stylisation) could be viewed in context for the first time only in the composite. We worked tirelessly to realise each scene. This allowed for direction and creative input to be fed back to the 3D team where needed and further finesse the end result.
An additional challenge was the fact that the entire 60 second commercial is told in a flowing narrative that has only two obvious cuts.
This lead to very large setups with hundreds of layers needing to be invisibly joined with each subsequent and equally complicated sequence. It was an intense project yet the nature of working with such a creative team made it a hugely rewarding process.
W+K have even developed an iPhone app that allows you to snatch bespoke animations of the characters that feature in the film interactively whilst its playing on your telly!
Special thanks to Ben’s understanding wife Sarah!
HEIMAT Berlin have continued their work with HornBach with a new campaign. They have become renowned for their inventive, ever changing and award winning DIY campaigns over the last few years and in Europe their work is keenly anticipated.
Their latest project, entitled ‘The Infinite House’ takes on a rather different format.
Rather than a straight run of 30 second television commercials the focus for the campaign is a charming narrative nine minute film being shown in cinemas and online.
From this six shorter TVC’s were cut down to act as trailers and promote the short film. It is supported by a print campaign with the agency also creating 700,000 children’s books based on the film.
“The Infinite House” tells the story of man, who with a lot of inspiration and the right tools transforms a small shack into an impressive improvised house of dreams.
Working closely with director Woof Wan-Bau and Radical Media Berlin we completed around 90 vfx shots for the cinema & web short film.
The five day shoot took place just outside Bucharest, Romania in the huge Media Pro studios. James Hatt designed and constructed the massive set and transforming house that with a team of carpenters and matte painters were three weeks in the making.
Our tasks included the more obvious such as extensive rig cleanup and screen replacements through to detailed work on the house transformation section. The project was conceived with a shorter duration but the production was so packed with detail and creativity that it found it’s own way to a final duration of nine minutes.
With a large team we ran two Flames and a Smoke around the clock to bring it all together knowing also that all the work would have to stand up to the scrutiny of a 35mm film print.
We’re delighted with the results and think Woof Wan-Bau has really succeeded in making a short film with a big heart.
Woof Wan-Bau, Director
“TBA were involved very early on in the project, and as always were incredible in their commitment and enthusiasm from start to finish. Sheldon weathered the gruelling shoot in Bucharest with us to make sure i didn’t mess anything up and even moonlighted as smoke and wind machine operator and general props man. Despite the fact that I came back to London with a substantially longer spot, the TBA team put everything into it, and their hard work and creative input was the icing on the cake. Unlike their superior Flame artistry, they suck at ping pong- it was fun to destroy them all on their new ping pong table once the job was done.”
The spot has since been shortlisted on the TED Initiative's "Ad's Worth Spreading" for 2011.
HEWLETT PACKARD I
We’ve just delivered another spot for Academy Award nominated animation directors Smith&Foulkes of Nexus Productions. It’s for the new HP Photosmart Premium printer through US advertising agency Goodby, Silverstein & Partners.
The spot highlights the internet connectivity of the printer and it’s range of web enabled applications, in this case Google Maps. The commercial takes us on a journey from the digital interface to the printed page reflected in a fictional journey from a computer generated cityscape to a paper textured landscape.
For the live-action sections we composited the motion controlled beauty passes of the product. We then composited the 3D animated sequences created at Nexus whilst closely developing the design and look of the two worlds with both Smith&Foulkes and the agency. We brought the live action and computer generated together through transitions from touchpad to cityscape and “paper world” to printed page. Lastly we helped realise the logo end device.
It was a tight turnaround and we worked closely with the un-flappable Ben Cowel head of 3D at Nexus to deliver the project in a little over three weeks from shoot to delivery.
HEWLETT PACKARD II
This is the second instalment from Smith&Foulkes for HP’s web enabled printer.
This story takes us on a journey from browsing the latest cinema listings to directly printing out tickets. Again we travel from the touch screen interface through the evolving digital world to the printed page.
Animation was delivered to us by the team at Nexus and the Goodby, Silverstein & Partners team were back in London to oversee the final composite and delivery. Sheldon brought together all the 3D animated elements and with some backup from Mike re-applied the style and grade established in the first commercial.
A killer 60 second spot for Nike through Wieden+Kennedy London. It was beautifully realised by director Anthony Dickenson of Pulse films. It mixes multiple media to deliver the story of Rooney faced with some futuristic and rather menacing target practice. Of course he takes it in his stride perfectly.
Mike supervised the shoot and helped photograph the long exposure shots of Rooney in action which were used in the final cut. We put it together over three short and intense weeks here at Time Based Arts.
James Guy, Agency Producer Weiden+Kennedy London;
“It was great to work with such an amazingly creative led team. A really intimate, lovely bunch who went above and beyond attention to detail on every shot, making sure director and creatives were totally happy. They made the whole process very easy, simple and enjoyable and had everyone filled with total confidence in what they promised to deliver, which was an amazing film. The work looked so good even a competitor remarked how nice it was!”
The script had all the ingredients of a killer spot and we’re really happy with the outcome. Intended initially as a web film only it’s also now being aired internationally as a 30″ and closer to home the full 60″ got it’s terrestrial debut at half-time during the Man United/ Man City derby. (Rooney scored the winner we might add!)
Time Based Arts has completed the effects work on this commercial for Peter Jackson’s King Kong ride at Universal Studios Holllywood.
The ride itself is the replacement for the original King Kong Experience that burnt down in the fire that destroyed a huge swath of the Universal back-lot in 2008. It’s a fully immersive 3D experience where visitors are surrounded on all sides by imagery (whilst riding on the Universal tour bus) projected on two 200-foot wide screens.
Here's an in-sight into how we did it.
COCA COLA BEIJING OLYMPICS
This spot was commissioned by Coke for the Beijing Olympics 2008 to be screened both in the USA and China.
American basketball legend Lebron James and captain of the Chinese squad Yao Ming go head to head in a theatrical cultural showdown. The spot was filmed in LA and because of the extreme height of Yao Ming (7ft 6") it was required that the "diminutive" Lebron James (6ft 8") stood on a box to better frame the live action ending. The 3D design and animation was created in-house at Nexus Productions with Ben Cowell as Head of 3D. We spent two months in flame compositing and grading the hundreds of 3D elements. The final wide face-off scene has over 300 passes.
In addition we added volumetric lighting, atmosphere and particle systems, designed many of the backgrounds and dealt with the bespoke particle transition to live action.
One of the stranger scripts we’ve been asked to work on but nonetheless beautifully conceived by the ever talented duo Smith & Foulkes out of Nexus Productions.
The ad follows Formula1 racing driver Fernando Alonso as he travels through a weird headless community in his Renault Megane. He looks on in amazement as each character he comes across has a random object for a head. It is revealed that the town is settled on the edge of a forest made up of scissor like trees. Alonso uses the power and handling of the Megane to dodge the sharp blades and safely exit the forest with his neck intact. Confused yet?! Watch and see for yourself.
The car was all shot on location in Madrid, painstakingly masked out and skillfully composited into the fully CG scenes. The clever 3D team at Nexus designed, animated and rendered the charming characters and environments. It was then down to Mike and Sheldon to bring the whole image together in the Flame. The result is a weird but wonderful watch
Chris Cairns of Partizam directed this great online film for the launch of the Nokia N8.
It was shot on the Phantom camera at high speed to capture the rather nifty handwork.
We worked on switching the colour of the handsets throughout, some close cleanup and adding the final screenshots.
If you own a shiny new Nokia N8 then we suggest that you don’t try this at home!
We contributed to this simply stunning music video for the track “Animal” by Miike Snow.
Anthony spent several long weeks in production perfecting the process of shooting, animating, projecting and reshooting sequences in collaboration with Jess Gorick to create the multi-layered visuals.
We helped out with specific grading as well as further animation and effects. The track is a beauty and it was a pleasure to work on.
Turn It Loose
We were asked to collaborate on a technically demanding sequence for a new feature directed by Alistair Siddons of Partizan, London.
His film, which premiered recently at the Edinburgh Film Festival, follows the fortunes of six young dancers in their bid to win the RedBull B-Boy World Title.
We took a 68-camera time-slice and developed it into a 15-second sequence, freezing our hero mid-air as we orbit around him. This pushed the Flame re-timer to the limit and threw up a healthy amount of work removing the resulting artifacts but we think it was worth it in the end.
This mood film for Nike was conceived and directed by the ever creative Saam Farahmand of Partizan London.
The tension builds throughout the spot with this rather other-worldly effect. It was accomplished by combining reversed high speed phantom footage of the skin under air-jets with real time performance takes of the sportsmen. The audio combines beautifully to create the jarring finale.
Chris Cairns of Partizan shot this timely summer Guardian spot.
It’s the story of the perfect summer pint, shot stop frame in various idyllic locations throughout the British Isles. It was a deceptively tricky bit of post in getting the beer and its foam to fall down the glass in a smooth fashion whilst all around changed. It was important to get the balance just right between the jerky (but honest) nature of stop motion in contrast to the smooth decent of the beer.
It was also one of those jobs that constantly reminded us where we would rather be!
It was also the first job that we finished at the newly completed Cottage in May 2009.
Shot over the course of a week in South Africa, this spot for car insurance brought together multiple formats from long exposure stills all the way through to super high speed Phantom footage to create one seamless shot.
Meanwhile in the mid ground our hero continues his piece-to-camera in real time throughout. It required extensive pre-vis and planning and was made possible as it was fully motion controlled using a Milo rig flown out to South Africa with the crew. Mike was on hand to supervise over the course of five windswept nights in Cape Town.