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In this spot the script called for ‘car on car’ action and virtually demanded it be delivered 100% CG. The initial challenge was how to structure… Read More
In this spot the script called for ‘car on car’ action and virtually demanded it be delivered 100% CG. The initial challenge was how to structure the car driving on itself through various weather patterns, and then to establish how it would look and feel. The trick to making the idea work was to subtly signal that all was not as it seemed. The miniature car was given a quirk to its motion, a slight weightlessness in the animation to give a sense that it’s not all quite real. The subtle depth of field effects also helped. Due to complex camera moves, the environmental elements had to be created - there was no component shoot for the mud, snow and rain. This meant a lot of work texturing the car, and getting mud splats and snow splats right required creating an animated file in Flame for Maya to turn the mud layers on and off as the car was moving. Usually sims are contained in small areas but these areas were huge; finding ways to achieve this was a wonderful challenge. In Maya and Realflow, sims such as the rain took 48 hours for the computer to do the calculations. Read Less
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In this spot the script called for ‘car on car’ action and virtually demanded it be delivered 100% CG. The initial challenge was how to structure the car driving on itself through various weather patterns, and then to establish how it would look and feel. The trick to making the idea work was to subtly signal that all was not as it seemed. The miniature car was given a quirk to its motion, a slight weightlessness in the animation to give a sense that it’s not all quite real. The subtle depth of field effects also helped.
 
Due to the complex camera moves, the environmental elements had to be created - there was no component shoot for the mud, snow and rain. This meant a lot of work texturing the car, and getting mud splats and snow splats right required creating an animated file in Flame for Maya to turn the mud layers on and off as the car was moving. Usually sims are contained in small areas but these areas were huge; finding ways to achieve this was a wonderful challenge. In Maya and Realflow, sims such as the rain took 48 hours for the computer to do the calculations. 
 
Agency :Asatsu-DK
Client :Subaru
Executive Creative Director :Osamu Saotome
Creative Director : Junichi Tanaka
Production Company (Japan) :ADK Arts Inc
Producer : Tomonari Motobu
Production Manager : Yusuke Minato
 
Production Company (Australia)
Producer: Bec Dakin
Producer: “MJ” Junji Matsuo
Director :Jeff Gaunt
DOP: Ben Shirley
   
Post Production Company Australia : Cutting Edge
Director / VFX Supervisor :Jeff Gaunt
Producer: “MJ” Junji Matsuo
VFX Producer: Flavia Riley 
VFX Coordinator: Jessica Vines
3D Artist: Rob Conn , Jake Hempson, Phil Jackson, Matthew Hermans, Richard Deavin, Matt Dye
Nuke Composite : Lars Andersen
Lead Flame Composite : Antony Haberl
Flame Composite : Steve Leacey
Music Composition / Mix Engineer: Mike Lange