Our first project as part of the Blacklist family seemed relatively straight forward at the outset: A greenscreen shoot followed by design and integration with CG environments. Once we really got down to business, however, as with anything that needs to be cut-free and seamless, we realized that the technical aspects of the project would keep us busy right up to delivery.
On a story level, we wanted to convey the idea that in this house we had all the members of a family simultaneously and effortlessly using bandwidth on various devices. The high-level of stylization in the colour and design of the environments meant this human presence was all the more critical. Unanimously, the single biggest creative and technical challenge was in working out the mechanics of camera and transitions between scenes and rooms.
During the pre-production phase, after getting signoff on a rough storyboard, we moved into a detailed previs and set-layout for the spot. In some of the wireframes below you can see the rig that we ended up with, which allowed us to swap in new versions of the rooms downstream in the production process. The rotations and transitions are a combination of camera rotations and also rotation of the entire set. The transitions from interior to exterior were handled in the compositing stage. On shoot day we used the previs to time and line-up our live action so that we knew we were getting footage that would fall into position nicely with our CG camera work.
For the exterior shots, the level of realism required meant that everything had to be modeled. By everything, we mean literally everything..... shingles, blades of grass, cracks in pavement it's all there to the tune of 1,684,107,560 polygons. Relish editor Steve Manz worked with us on the cut and 567vfx worked on pulling keys and integrating footage elements into our CG 'plates'.