user's avatar Jacek Owczarski
3D Motion
After Effects
We introduce Jack Shepherd (35 y.o.) the dog. The main hero of the 2nd movie in the campaign. Jack's been leading a dog’s life among fat cats on golden parachutes until he found
a new job! Now he brings twice as many bones 

 We had a heated discussion regarding the dog's breed and finally, our choice landed on mutt - who doesn't love mutts. We strived to make our viewers feel for the dog from first sight, so the appearance was crucial. You won't find a suit in Jack's closet, so seeing him exploited by ruthless white collars, you recognize he doesn't belong to the "corpo" world.

Jack's new job environment is an extension of that way of thinking. A cozy and homey start-up setting, full of personal touch is more suitable for a jeans 'n' t-shirt kinda guy. Here we went for a bright and warm palette to contrast the scenery from the old, cold and bleak workspace. The third set (one of the favorites among the team) is a cluttered broom-closet-like nook with our hero's small desk. Here we wanted to emphasize the insane workload he has every time, on the other hand, to show a bit of optimism in the spirit of Jack. It is a place where he feels safe - it's his little den where he can spark a glimpse of hope in the land of uniform corporate coldness.

Animation, as in all of this series was done by hand. We did, however, use motion capture when working with actors on the set. This allowed us to focus on the framing and timing of the shots and experiment efficiently. Once we had the rough cut in place it would serve us as a template for animation, which often evolved beyond the motion-captured references. During the shoot, we also recorded the actors with face cameras to collect further facial-expression references. That approach has sped up the production process significantly.

One interesting challenge was the dog's howling. Most of the animation was achieved by manipulating certain controllers placed all over his body. Unfortunately, this common technique was unable to yield the effect we desired. We had to create a separate model of Jack's face "wearing" the intended expression - so-called "blend shape". The final howl was accomplished by morphing back and forth between the two faces.


To simulate the dog's fur, once again, we used Yeti, which gave us quick and
easy control over the grooming and allowed us to apply different styles in
very selective and precise manner.

Agency: Brasil Warsaw
Production & Animation: TELEVISOR
Director: Paweł Krzemiński
Producer: Iwona Kachel
CG Supervisors & R&D: Karol Zakrzewski, Adam Rybarski
Art Director: Michał Dziekan
Concept Artists: Michał Dziekan, Rafał Wojtunik
Modeling:  Yannick Vincent, Arik Newman, Marcin Dzieniszewski, Marcin Derewońko,
 Piotr Klimek, Grzesiek Flaga /Picture Wizards, Jonatan Catalan

Texturing / Shading Artists: Yannick Vincent,  Arik Newman, Marcin Derewońko,
Marcin Dzieniszewski, Piotr Klimek, Jonatan Catalan

Rigging Artists: Giacomo VenturiMichał Binkowski
Motion Capture: Bones Studio
Animation Artists: Paweł Woźniak, Bartek Jerczyński
Grooming Artist: Grzegorz Jankowski
Lighting & Rendering Artists: Mariusz Giętkowski, Kamil Kłoczewiak,
 Mykhailov Ihor, Marcin Dzieniszewski

Layout Artist & Animation Support: Michał Binkowski
Storyboard: Wiesław Skupniewicz
Compositing Artists: Mariusz SeligaPavle MilicevicMaria Koleśnik
KV: Grzesiek Flaga / Picture Wizards
Team Coordinator: Emilia Dziekan
Grading Artist: Łukasz Huptyś
Offline Artists: Wojtek Włodarski
Sound: Ztudio&Burza

check for more: Jacek Owczarski