Xmass - It's time to call each other by name
~ the meaning of the TYSKIE campaign slogan.
The TELEVISOR's machines worked at full capacity to create a festive atmosphere of shots in the middle
of summer. Through CGI, we wanted to give them maximum realism, and this is how the TYSKIE train in the Christmas edition was created. It was inspired by the railway that has been operating in the Brewery in Tychy since 1893 until today.
of summer. Through CGI, we wanted to give them maximum realism, and this is how the TYSKIE train in the Christmas edition was created. It was inspired by the railway that has been operating in the Brewery in Tychy since 1893 until today.
3D MODEL
Realism was our priority, and the key - references. Access to an existing train and the ability to capture it in
two shots was of great importance for the efficient post-production process - making a very accurate model, recreating textures and motion. Finally, in all shots, the train was replaced with a digital version, and the
steamit generated has remained in the shots only to a small extent.
two shots was of great importance for the efficient post-production process - making a very accurate model, recreating textures and motion. Finally, in all shots, the train was replaced with a digital version, and the
steamit generated has remained in the shots only to a small extent.
SMOKE SIMULATION
Each shot required an individual approach in the process of steam simulation - generating the
right amount and density to reproduce its behavior in low temperature conditions and to adjust
its "smoke escape" to the speed of the train.
right amount and density to reproduce its behavior in low temperature conditions and to adjust
its "smoke escape" to the speed of the train.
COMPOSITING
Combining CGI with shots shot in such a way, as to maintain realism, is always the biggest challenge, especially when you have to create a winter festive atmosphere and it's the middle of summer outside the window.
SNOW LAYERS
In both distant and near plans, we added snow in shots and additionally in a floe on the river. In addition, three shots in the film were generated almost or 100% digitally - a wide picturesque opening shot of the TYSKIE BREWERY (digital matte painting) and 2 shots from the ride of the train (100% 3D).
FINAL EFFECT
The devil is in the details - the mini-incompatibilities cause discomfort, which in
some areas, eg. animation and robotics, is so strong that the viewer ceases to
believe that a given situation or scene is really happening. The concept of uncanny
valley explains this phenomenon. Thanks to attention to the smallest details and
the ability to see the train in the frame, recordings of motion references, and above
all, the execution of a full 3D scan of the train opened the way for us to the valley of
amazingness in the Tyskie Xmass project.
CREDITS
Client: TYSKIE
Agency: bardzo.
PostProduction: TELEVISOR
Director: Karolina Lewicka, Tomek Kapuściński
Production: OTO Film
Supervisor: Karol Zakrzewski
Rendering Artists: Marcin Dzieniszewski, Grzegorz Czarnota,
Szymon Burzawa, Igor Chołda
Szymon Burzawa, Igor Chołda
FX/3D Tracking: Dominik Kosik
Animation Artist: Gosia Chłopek
Matte Painting: Damian Bajowski
Rotoscoping: Piotr Denys
Compositing Artists: Hubert Dłużniewski, Damian Bogusiak,
Maria Koleśnik, Wojtek Świątek
Maria Koleśnik, Wojtek Świątek
Rigging Artist: Giacomo Venturi
FX: SENZO Studio
Edit: Łukasz Szwarc
Color: Frederick van Eden
Sound: Juice Sound
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