We had the opportunity to use our VFX magic to promote DBS's newly launched sustainability initiative, LiveBetter, by incorporating visual effects to enhance the shots for their promo video, "What's Worrying Ben?". Our team worked closely with video production company Abundant to ensure that the message of LiveBetter was communicated effectively through visually stunning visual effects. We believe that this partnership will not only benefit DBS but also contribute to a more sustainable future for all.

We had to achieve the most convincing effect of plants popping out, so we shook the standing lamp on set, to mimic the movement as if plants just popped out of the lamp shade. To pull this off in CGI, making the VFX plant stick believably to the lamp shade, we placed markers on the lamp shade to do 3D object tracking.

While GeoTracker (a Nuke plugin developed by KeenTools) works wonders for this purpose, we wanted to evaluate the tracking capabilities of Blender. And it worked — we managed to get a visually convincing object track of the lamp shader (see below)

Although it doesn't provide the same level of control and accuracy as GeoTracker, it was more than enough to make the shot work. We're excited by the ways Blender has helped us in various productions in ways other softwares couldn't.

It used to be very time consuming when we use measuring lasers and tapes to collect on-set dimensions of the space and props. This time, we used the iPhone's 3D scanning features to the film set and manage to gather extremely useful data, for shot planning, lighting and general understanding of the space for our VFX artists. By using these tools, we were able to determine the scale and dimensions of the set so we can work on the VFX more accurately. 

Some times, difficult decisions had to be made on set. The standing lamp, for instance, was initially thought to be static when plants sprouted from its head. However, when we were on set reviewing the first couple takes, we felt that by swaying the lamp as plants sprout from its shade, the effect would look a lot more convincing. We took some calculated risks in this project in order to make the shot feel more natural and realistic.

When working on CGI trees, our typical approach involves using a stock tree model and simulating the desired visual effects in Houdini. Nonetheless, in the case of simulating a raintree, we encountered a unique challenge - a rain tree. To ensure there was some flexibility for potential future modifications, we had to generate a procedural rain tree model in Houdini. This allowed us to adjust the size, length of branches, etc. of this ficticious giant tree. And, to have it contextualized to the local audience by having it be a incredulously huge yet familiar rain tree recognisable by all Singaporeans.

Early in the production, we conducted numerous tests and explored various iterations to achieve the desired aesthetic for the rain tree. It was an seemingly endless battle of finding the perfect balance between a natural appearance and the right amount of untidiness. We're glad we made the call to have full control over the appearance and movement of the tree.

"Big tree on the streets!" A play of scale is a classic visual trick in the book. It's always fun to attempt such VFX, and while not the most complicated VFX, we had challenges to ensure that it's a rain tree that can be found in Singapore, for the local target audience, so we developed tools to build custom giant trees.

Plants have a sub-surface scattering nature (pun intended), and it requires us to capture on-set data as faithfully as possible. We utilised new 3D scanning technologies to get a close-enough model of the space on set, instead of our old days of a measuring tape.

It's so smooth working with our film production partner, Abundant Productions, for the fact that they have a couple VFX artists on their end, and we're able to exchange ideas on how we can push the VFX further with CGI, and conversely discuss what the restrictions were. We collaboratively worked on how we can achieve the essense of the effect creatively without breaking the bank. We're happy to have found solutions together!

All in all, we were only able to do all our VFX/CGI tests because we were involved very early in the project, allowing us to advise a film production company who is very respectful of the VFX process. We stepped up a bunch in this production and we're looking forward to the next "big stuff" VFX project!

Client: DBS, Abundant Productions

Creative Studio: Masonry Studios

Executive Creative Producer: Zulkifli Md Zaid
VFX Director: Ronald Fong, Nicholas Chia

Visual Effects: Ronald Fong, Ching Gje Chew, Qianling Loy, Jovan Ong, Jinsheng
Behind-The-Scenes Video Edit: Rachel Chew