Nick Meek for Nissan

On Location: Nissan Juke

We travelled to Spain with Nick Meek to shoot the new Nissan Juke in a series of elegant architectural settings. For post-production, this involved a wide spectrum of skills – from shooting duplicate cars in order to avoid complex reflections, bringing sunshine to a rainy day, and finally a dramatic day-to-night conversion.

For this shot, the reflections of the structure were too much to be removed in post, so Nick photographed duplicate cars inside and outside the building. The two can be seen here:

Nissan Juke - Recom Farmhouse On Set

Christoph captures additional backplate elements.

Quick retouch on set to confirm that everything is in place

 

The next day, the heavens opened…

Nissan Juke - Recom Farmhouse On Set

But the rigshot must be completed!

Sunny weather again for the harbour shot

Nissan Juke - Recom Farmhouse On Set

 

…and out to sea to shoot the skyline. The cityscape that you see in the shot was puzzled together from many separate shots to get the perfect backplate, evocative of an attractive city without detracting the viewer from the car as the hero of the shot.

Nissan Juke - Recom Farmhouse On Set

Nights are drawing in! After the shoot was completed, Nissan wanted a night-time version of one of the shots. This was a very interesting challenge – moving a very high key image to be ultra low key

The car is a new, special edition model, so the alterations were complex – far beyond just changing the colour. We re-rendered the paint and the interior of the car – only tyres and lights remain from the original model. Using the HDR spheres that we’d produced at the time, we re-rendered the building and environment. The floor was taken from the original (pre-retouching) imagery, so retained its texture and was accurate at night. We replaced the city at skyline at the back with sourced material to make a new nightscape.

The new shot retains the elegant simplicity of composition that is a key part of the original, whilst adding the distinct ambience of a moonlit night.

Nissan

See the process here:

And the whole campaign on Behance here.

Client: Nissan Europe

Agency: TBWA/Paris

Art Director: Elisabeth Ribeiro

Assistant Art Director: Maude Muller

Art Buyer: Marie Moulin

Photographer: Nick Meek

Production: New Moon Productions

CGI Artist: Kristian Turner (daytime shot), Carlos Pecino (night time shot)

Post Artists: Pepê Alram, Ulf Cantignon, Christoph Bolten

Recom Farmhaunt

Recom Farmhaunt

Inexplicably a few brave retouchers lived through the night at the Recom Fearhouse forest cabin last Halloween, and the shaken survivors climb back into the veneer-sided station wagon for the next instalment. Escaping the woods, they arrive in a lonely town at dusk…

What warped levels of darkness are layered and blended with a mask of normality?  Will our artists be ready for their “Post” Mortem? Reveal All below….
Peer out from behind the sofa and press play….if you dare.

No horror movie is complete without a poster:

Recom Farmhaunt poster

 

CGI Artists: Luke Burke & Alex Bowen
Retouching: Federico Chiesa
Art Direction: Federico Chiesa
Music composition for animation: Federico Chiesa
Present Tense

We sweep the board at Gosee Awards 2018!

(image: Present Tense, winner of both Silver and Public Vote. See the series here)

A record year for us at the 2018 Gosee Awards in Berlin!
Gold, Silver and winner of the Public Vote in Transportation:

Gosee Awards

Silver, Merit and winner of the Public Vote in CGI & Animation:

Merit and winner of the Public Vote in Stills:

We’re also proud to see Alessandra Kila’s “Emotional Contingencies” chosen as the headline image for the winners’ announcement here in addition to two awards – click through for more….

Alessandra Kila - Emotional Contingencies

Audi Q8, photographer Ben Stockley, retouching by Recom Farmhouse

Making of: Audi Q8 with Ben Stockley

Dark matters in this dramatic Audi campaign. We created still images in a huge variety of media formats, and also animated cinemagraphs.

From the early bidding stages onwards, our London team was heavily involved in the technical realisation of both still and moving imagery. This was some of the most intense post-production work we’ve been involved with and we are all very proud of the final results with their unique mix of realism and epic style, inspired by movie posters.

The biggest challenge in these shots was that the usual process was reversed. Normally, a car is shot on a location that is as physically similar as possible to the final backplate, and the original plan was photograph the car on the site. However as the Q8 is a completely new Audi model, with only a handful of prototype cars in the world, there wasn’t one available for the shoot in Scotland. So for these images, the backplates had to come first. Ben Stockley started out by capturing cityscapes in Scotland and London which we used to make initial compositions.

With the backplates shot, post artist Pepê Alram joined the photographer and art director Raymond Chan to shoot the cars in the studio with the initial background compositions projected onto giant screens. We fine-tuned the process together through constant experimentation with everything from the size of the car to the colour palettes. We refined the look tirelessly, with on-set input from Christoph Bolten, head of Recom Farmhouse London,  until we had completely realistic reflections in the sheet metal and had captured the filmic quality we were after.

In our London studio, post artists Kate Brown and Pepê Alram worked alongside Ben & Raymond to meticulously piece the puzzle together by merging studio and background shots. CGI elements replaced outdated model parts, we added a wet road, layers of rain, lens flares and other foreground elements. The reflections were eventually reduced for a more subtle and natural feel, retaining the perfect placement that we worked on so carefully.

The still images: 

Audi Q8, photographer Ben Stockley, retouching by Recom Farmhouse

 

Audi Q8, photographer Ben Stockley, retouching by Recom Farmhouse

 

Audi Q8, photographer Ben Stockley, retouching by Recom Farmhouse

At all points of the process, we had considered how these images would work with their added motion elements. The final piece of work was to fine tune the looping animations and bring three atmospheric cinemagraphs to life – a rainy night, lightning flickering around a foggy bridge, and a sparkling cityscape under racing clouds.

The Cinemagraphs

See how the layers build up to create the ambience of a cool and rainy city evening in our making-of here:

The campaign is currently on display on digital billboards across the UK.

Client: Audi

Agency: BBH

Photographer: Ben Stockley

Art Director: Raymond Chan

Copywriter: Simon Cenamor

Post Artists: Kate Brown, Pepê Alram, Riikka Eiro, Aljaz Bezjak, Maria Luisa Calosso, Nuria Segura

Animation: Aljaz Bezjak

Agency Producers: Adam Overton, Aine Donovan

Photographer’s Agent: Siobhan Squire

 

 

 

 

 

 

Making of Frame Magazine Covers with Thomas Brown and Andrew Stellitano

Frame Magazine assigned photographer Thomas Brown and set designer Andrew Stellitano to create visual interpretations of four themes for their four latest issues – they always work in series for their covers, which they treat as an art project in themselves.

This way of working was an ideal fit for Thomas and Andrew, who enjoy the process of creating a thematically coherent series with colour and abstraction as the central concepts. The only stipulation that Frame made was that the images should be colourful, and there should be an environmental, spatial feel to the images, with architectural depth.

Having worked often together before, they took the initial proposal as a framework but built on it as the work progressed.

One of the most enjoyable parts of this project was the discovery of new ideas to try, as they arose from the initial concepts. It wasn’t all chin-stroking….there was a lot of laughter along the way, as these behind the scenes photos show – enjoy!

 

Nº 1 of 4: Doubt.

This was inspired by the idea of image as deceptions – thinking about the current geopolitical situation, fake news, the difficulty of knowing what is actually real.

“For the cover of this issue, we created a spatial experience that is all in the mind. The world seems to have flipped on its head, and nothing is as it seems. A tunnel that extends off into the distance is, on close examination, made out of a modular toolkit of materials”  — Thomas Brown and  Andrew Stellitano 

‘Using wood, paper, watercolour, acrylic, glass, organic materials and glycerine, …[they] built a multilayered world that hovers between fantasy and reality. Aptly titled Doubt, it’s their first cover in a series of four’

—  Frame Magazine

Nº 2 of 4: Ephemeral.

Exploring the idea of temporality and events such as fashion shows that are hugely involved but fleeting. Flashes in eight different colours captured blocks falling around the static forms.

“Inspired by the speed at which the world is changing, we wanted to create a sculpture that is more than the sum of its parts and that can be captured only as a photograph. With our camera, we compress time.” — Thomas Brown and  Andrew Stellitano 

 

“Using stroboscopic lighting in combination with long time exposures the photographer captured moving elements around a static object, creating a feeling of impermanence.” —  Frame Magazine

Nº 3 of 4: Environment.

Here, the duo considered the enviroment in conjunction with illusion and image-making. It’s full of opposites – bringing the outside inside, gravity defying rocks, objectifying the natural and slicing the outside into contained bars in the background.

“We were inspired by a Diane Arbus photograph taken behind the scenes at Disneyland. The image shows huge boulders on wheels against the vast Californian landscape – an artificial backdrop at second sight. It’s a spellbinding scene that puts our expectation of reality into flux. ” — Thomas Brown and  Andrew Stellitano 

 

 

“An outdoor environment that doesn’t play by the normal rules of physics. Rocks become easily transportable objects, and panels function as portals to an alternate reality” —  Frame Magazine

 

Nº 4 of 4: Food.

For the final image, they chose the theme of food. Though it’s ubiquitous, it’s not often an environmental element. The can is revolutionary – its invention changed our relationship to food completely. Its reminiscent of a bitmap, modular, reactive with its simple silver surface which both renders it invisible and responds to the environment around it with reflection and distortion. The shallow water below joins the elements by rising to the right height to make the cans appear to unite, and the projection of Kyoto adds yet another layer of texture and colour.

Shallow water was just below to join elements

“Photography can be a wasteful business, but the contents of all the cans on this issue’s cover were either donated to food banks or turned into amazing corn bread, corn curry and corn fritters. We never want to eat corn again”

— Thomas Brown and  Andrew Stellitano 

“To round off their series of four covers, designed to explore materiality and space [they] … chose food packaging as their medium. Stacked to form primary shapes, the tins create an intriguing landscape.” —  Frame Magazine

Client: Frame Magazine
Photographer: Thomas Brown
Art Direction: Studio&
Set Designer: Stellitano Studio
Post Artist: Aljaz Bezjak / Recom Farmhouse London
Photographer Agent: Webber Represents

 You can also see the final images without the magazine type on our website and on Behance

Recom Farmhouse is on InstagramFacebookVimeo and Twitter!
More work at recomfarmhouse.com.

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Client: Mercedes Benz Photographer: Tomek Olszowski Post Artists: Aljaž Bezjak  , Maria Luisa Calosso, Ulf Cantignon

Mercedes with Tomek Olszowski and Bartek Hlawka – Behind the Scenes

We loved working with Tomek Olszowski and Bartek Hlawka on this project in set in Croatia, for Mercedes-Benz’s #MBvideocar campaign – the raw power of the car as it roars through the otherworldly setting of a remote island makes for a dynamite short film.


Thanks to Tomek for this detailed look behind the scenes of an extraordinary piece of work!

“The idea.
The idea was simple – to create the feel of another world. No trees, no natural green landscapes…we wanted volcanic black sand or rocks, some raw, unearthly and hostile place to be a setting for an insanely extravagant car.

We found the perfect location in a high mountain pass between France and Italy, and sent our concepts to Mercedes, who loved the idea and gave us the green light to use one of their their monster-engined new models – the AMG GT S

However, by this time, our Alpine location was under several unexpected metres of snow….We needed plan B! So we fired up Google Earth and began to explore…

That’s how we found Pag and Rab – two islands in Croatia with spectacular roads to their ferry harbours. They made the perfect choice for our vision: the harbour has lots of free asphalt space, there’s sea water to keep the ground wet, and the traffic is limited because of the ferry schedule.

Travelling.
So I jumped on a plane from Cracow to Stuttgart, picked up the Mercedes AMG GT S model and drove it to Croatia. By the way, the car is awesome – not only a great powerful toy to play with, but also enough comfortable to travel. Very nice experience.

As the November weather was very unpredictable we were worried if we would get any sun in Croatia. The forecast looked strange – on Pag we had a window with great weather – sunny and  18°, but 20 km away on continental Croatia it was snowing and 5°C .

And actually, that was it exactly how it was! I was driving on a Croatian highway at 3 C degrees, in heavy snow, feeling pretty depressed. And right after emerging from the 6 km long Sveti Rok tunnel…the winter was gone. I had full sun and temperature jumped from 3°C to 16°C! How is that even possible? The answer is simple: very strong wind blowing from the sea – and that wind was to cause us problems.

Stills shoot.
Studio Tecza Production drove from Warsaw to Pag Island in our tech car with all the necessary equipment including cameras, tripods, rigs, lights and grip.

Mercedes with Tomek Olzowski - behind the scenes

We had a Nikon D800 camera to shoot handheld surrounding shots, plus a PhaseOne XF 100mpx tethered to a computer station. We wanted to shot many rigshots, as I just received my custom built carbon fibre 8m long pole back in Poland.

Mercedes with Tomek Olzowski - behind the scenes

The first day, we were tech scouting the harbour on Pag, preparing the car and planning our schedule according to the sun position.

Mercedes with Tomek Olzowski - behind the scenes

Next morning in the harbour, we started the shoot early, pumping sea water to make the ground wet. The light was so beautiful that when I saw first shots in CaptureOne I just instantly felt in love. I had wanted to keep a natural feel, and there was literally nothing I could improve.

Mercedes with Tomek Olzowski - behind the scenes

We had lights, flags and other equipment but none of it was needed in these conditions.

Mercedes with Tomek Olzowski - behind the scenes

Mercedes with Tomek Olzowski - behind the scenes

We had planned to set up some rigshots on the road as the sun rose higher. Unfortunately, the  aforementioned strong wind complicated things. We managed to get only one proper rigshot as the wind was so variable, and when it was blowing we had to wait.

Stills Shoot 2 

Next day, we started by shooting the rocky parts.

Mercedes with Tomek Olzowski - Rocks - behind the scenes

We had scouted some nice spots where the car would look unexpected and strange, but were still accessible.

Mercedes with Tomek Olzowski - Rocks - behind the scenesThe wind was so strong we couldn’t even hold the lighting flags, but I was OK with that – the surroundings were beautiful and the natural shots looked still amazing.

Mercedes with Tomek Olzowski - Rocks - behind the scenes

We did some panning, and wide landscape shots with the car small in frame as well.

Mercedes with Tomek Olzowski - Rocks - behind the scenes

Fortunately the wind started to weaken in the afternoon, so we had some time to mount the rig and take another shot.

Mercedes with Tomek Olzowski - Rocks - behind the scenes

 

The raw material felt really great. I was proud of my rig gear, it was the first serious test for this equipment.

Mercedes with Tomek Olzowski - Rocks - behind the scenes

I loved the images produced by the new PhaseOne model, and I wanted the colour to be still more unorthodox and unique. I knew the only guys that would understand were Recom Farmhouse!

 

Video shoot.
Director of Photography Bartek Hlawka and his team had arrived on the first day of shooting stills in their oldie but goodie, Subaru Impreza GT 🙂 This car had a real mission, not only to bring the guys and equipment from Warsaw, but also to take a part of the shoot as a pursuit vehicle.  We collaborated closely, discussing everything before each lap up and down the hill.

Mercedes with Tomek Olzowski - Video - behind the scenes

Photo production showed that the road was almost like a movie set from a zombie apocalypse movie. We saw maybe 3 cars every two hours and it became clear that it would be a lot of fun having a road for ourselves.

We started recce from a drone to get to know all the bends and their surroundings. The weather was windy, so it wasn’t an easy task. After doing almost 100km over a 5km section of the road, we knew every centimeter of it.

Mercedes with Tomek Olzowski - Video - behind the scenes

Finally we chose the harbour as our starting point for all the shots and also as a location for the final shot.

Mercedes with Tomek Olzowski - Video - behind the scenes

Our trusted Subaru was very brave on the preproduction day, but the real stuff was to come.

Mercedes with Tomek Olzowski - Video - behind the scenesWe planned two shooting days for images, and one for audio recording. Next day we arrived at the first location at 5 am and the view was breathtaking. We already knew that we have something special in our hands. After only a few kilometres it became clear that if we wanted to show speed on the screen the only was it to drive… fast.

Mercedes with Tomek Olzowski - Video - behind the scenes

We drove 700km in total on the spectacular 5km course during  two days of pure pleasure!  Combined with hard work and a lot of a high-speed driving, it was a filmmaker’s dream come true. The weather was capricious but it gave us an opportunity to shoot in different conditions.

Mercedes with Tomek Olzowski - Video - behind the scenes

Most of the shots were made on a gimbal attached to a Ditogear Vibrafreek stabilizing arm. We chose a Sony camera to have low light capabilities and combined it with vintage Japanese lenses from the 70s. It gave us a nice analogue feel with a lot of information in the image to do the grading.

Mercedes with Tomek Olzowski - Video - behind the scenes

After intense two days, we were ready for audio recording. Sound design was always meant to be a huge part of the finished video. We mounted microphones on the exhaust and in the interior, and recorded flybys to have as many options as possible.

Mercedes with Tomek Olzowski - Video - behind the scenes

With the shooting complete, we moved onto the editing, sound design and colour grading.

Bartek Hlawka edited a first cut and composer Michal “Lieke” wrote a powerful and atmospheric piece of music for it,  which inspired the further editing that would tell the story in an interesting way.

Starting with abstract shots of an almost unrecognizable silhouette of the car before dawn, and gradually transitioning to a bright day, we combined all the shots from different weather conditions into a coherent sequence.  Then the plan was to overwhelm the viewer with dynamic and dense editing of images and sounds to the point where we felt we had to stop and breathe a little bit…and finally reveal the car and all its magnificently curvilinear design for a few final seconds on the screen.

Lieke completed the atmospheric music and sound design, with the sound of the engine as an integral part of the story. 

The colour grading by Christoph at Recom Farmhouse was the final touch, enhancing the feeling of being out of this world and bringing the shots together as a coherent whole. The challenge was to harmonise footage shot in with different lenses, lighting situations, and wildly varying weather conditions. Fine-tuned and polished with painstaking care, the united piece flows flawlessly as a story of a perfect day’s driving from dawn till dusk.”

Client: Mercedes Benz Photographer: Tomek Olszowski Post Artists: Aljaž Bezjak  , Maria Luisa Calosso, Ulf Cantignon

Client: Mercedes Benz

Stills:
Photographer: Tomek Olszowski
Production: Piotr Stefanski – Studio Tecza
Post Artist: Aljaž Bezjak, Maria Luisa Calosso, Ulf Cantignon / Recom Farmhouse
Assistant: Adam Gocel

Film:
Direction: Tomek Olszowski
Director of Photography: Bartek Hlawka
Colour Grading: Christoph Bolten / Recom Farmhouse
Music: Michal Przybylski “Lieke”
Chase Car: Karol Szymanski
Production: Piotr Stefanski – Studio Tecza
Assistants: Adam Bonarski, Adam Gocel

 

 

Making Of “Jaguar” – painting sunshine with Marc Trautmann

How to bring the sunshine when the weather just will not co-operate?  This is how we do it:

Marc Trautmann took the new compact crossover E-Pace on a week long shoot to the streets of London for its latest campaign. The brief called for a sunny, late afternoon atmosphere, but the weather refused to cooperate. This didn’t stop our post artist Pepê Alram from using his mad sunshine painting skills, and together the team transformed a gloomy day into a pleasant, bustling afternoon in the city.

See the series on our site here.

Client: Jaguar Land Rover
Agency: Spark 44
Photographer: Marc Trautmann
Creative Director: Nick Hearne
Art Director: Samuel Hennessy
Post Artists: Pepê Alram, Aljaž Bezjak / Recom Farmhouse
Photographer’s Agent: Patrick Casey

Bentley Continental GT

On Location: Bentley with Graham Thorp

We spent a week shooting in locations around Italy for Bentley, with photographer Graham Thorp and agency Keko London, updating classic Italian landscape photography to fit with the modern luxury of the new Bentley Continental GTI.

As we started work to create the perfect image above, it was clear that there would be some challenges along the road…photographer Graham Thorp waits for the briefest moment of sunshine:

In the rain

Let’s shoot in the mountains, they said. The light and views are amazing, they said…
Creative Director Iain Ross searches for a break in the clouds:Recom Farmhouse on location with Bentley

…but after extensive scouting (and a wait for the weather!) we’re up early and waiting for the light:

Awkward positions make for the perfect angle on those twisting mountain roads… 

As workspaces go, you can’t complain:

That perfect low light for shooting needs some work for the post-production environment…

Talk to the monitor!

 

Beautiful sunset light on a perfectly curving stretch of road…Recom Farmhouse on location with Bentley Recom Farmhouse on location with Bentley

Setting up in the early morning – classic Tuscany landscapes:Recom Farmhouse on location with Bentley

Burning the midnight oil by the pool:Recom Farmhouse on location with Bentley

Some of the final results in print, in Harper’s Bazaar:


See the campaign on our site here

Credits:

Client: Bentley
Agency: Keko London
Photographer: Graham Thorp
Creative Director: Iain Ross
Production: Martin Bennett, Mustard Berlin
Producer: Maja McIntosh
Post-Production: Recom Farmhouse

Client: Ford Agency: GTB Photographer: John Roe Creative Director: Todd Ruthven Art Director: David Nonthaweth Art Production: Kim Harris, Gerri Kozikowski Production: Roe Photo CGI Artist: Recom Farmhouse Team Post Artists: Recom Farmhouse Team

On Location – Ford Ranger CGI with John Roe

Sling your surfboard into the pickup and join us on location for our ten day shoot travelling across Oregon’s beaches, forests, deserts and mountains. We worked with John Roe and GTB on the launch campaign of the Ford Ranger, marking its return to the US market after seven years.

This was a fun shoot with a great bunch of people. We couldn’t resist setting up the Lizard for a 360 degree group shot. Introducing the Dream Team!

From left to right:
Jason Pachura – Location Manager
Brian Hug – Motorhome
Josh Nagy – Digital Technician
Richard Levene – CGI Supervisor
Phil Treece – DST (Car specialist)
John Kwiecien – Producer
John Roe – Photographer
Dianna Berggren – Production Coordinator
Nathan Garcia – Camera Assistant
Pete Thomas – Camera Assistant
Todd Ruthven – Creative Director
David Nonthaweth – Digital Art Director

We had a Ford Ranger brought in from Australia with the same dimensions and wheel base as the new Ford Ranger, which we would later create in CGI for the final images.

Ford Ranger onset with Recom Farmhouse - lake

This helped greatly for lining up shots, and for the talent to interact with – especially for loading and unloading surfboards, bikes and so on.

Ford Ranger onset with Recom Farmhouse - canoes

Ford Ranger onset with Recom Farmhouse - bikes

We had every kind of weather imaginable – sun, snow, rain and wind but thanks to the Lizard’s super fast capture, we were able to work quickly, even in the shortest windows of sunshine.

Lizard in a puddle

See how this shot was created in our “Making of” video here:

We arrive at sunrise to scout the beach location.

Ford Ranger on location with Recom Farmhouse

Setting up on the beach, in a gorgeous reflected skyline.

On Set for Ford Ranger

The photographer would first shoot the image with the stand-in truck.  Then we would move the truck out of view and shoot clean backplates.  In this way we could easily add the new CGI truck, and composite the talent back into the final image.

Using the stand-in truck for the initial shots:

On Set for Ford Ranger

Using the Lizard to capture the empty beach without the truck:

Ford Ranger on location with Recom Farmhouse

On set in a contrasting location  – a very cold morning as we shoot the truck in the snow.

Cold morning

Ford Ranger onset with Recom Farmhouse - snow

With the truck driven away, Richard sets up the Lizard to capture a spectacular mountain backdrop.

Ford Ranger on location with Recom Farmhouse

The final images from the beach location:

Client: Ford Agency: GTB Photographer: John Roe Creative Director: Todd Ruthven Art Director: David Nonthaweth Art Production: Kim Harris, Gerri Kozikowski Production: Roe Photo CGI Artist: Recom Farmhouse Team Post Artists: Recom Farmhouse Team Client: Ford Agency: GTB Photographer: John Roe Creative Director: Todd Ruthven Art Director: David Nonthaweth Art Production: Kim Harris, Gerri Kozikowski Production: Roe Photo CGI Artist: Recom Farmhouse Team Post Artists: Recom Farmhouse Team

And the completed image from the mountain location:

Client: Ford Agency: GTB Photographer: John Roe Creative Director: Todd Ruthven Art Director: David Nonthaweth Art Production: Kim Harris, Gerri Kozikowski Production: Roe Photo CGI Artist: Recom Farmhouse Team Post Artists: Recom Farmhouse Team

While we were on the shoot, we talked about how it would be fun to put Bigfoot into one of the images, and we put him into a shot as a surprise for the client in the presentation. They loved it! So a couple of “Easter Eggs” made it into the final images and can be seen on the Ford site ..see if you can spot Bigfoot and Nessie! North American Product Communications Manager at Ford, Mike Levine, referenced them for people to find on his Twitter account here:

See the whole series of fifteen images on our site here.

Client: Ford
Agency: GTB
Creative Director: Todd Ruthven
Digital Art Director: David Nonthaweth
Art Producer: Gerry Kozikowski, Kim Harris
Photographer: John Roe
CGI & Retouching: Recom Farmhouse NY & London Team
Production: Roe Photo

Photographer: Clemens Ascher CGI Artists: Kristian Turner, Anna Toropova Post Artists: Pepe Alram, Aljaz Bezjak Stylist: Alice Whiting Make-up: Amy Conley Hair: Brooke Neilson

Making “Of Rainbows And Other Monuments” with Clemens Ascher

Clemens Ascher dreamt up “this surrealistic and graphic world featuring mysterious monuments, the legendary Ferrari Rainbow and its furious drivers” – a minimalistic and metaphysical series in three subtly muted primary colours.

The ultra-distinctive stylings of Bertone cars are epitomised by the angular Ferrari Rainbow. This astonishing wedge-shaped concept car from 1976 never went into production and the prototype remains concealed in Bertone’s private collection.

Photos by Rainer Schlegelmilch and story on this largely forgotten legend here:
https://www.classicdriver.com/en/article/cars/classic-concepts-1976-ferrari-rainbow

Through CGI we set out to bring it into a uniquely imagined world. Clemens began by sketching  a deceptively simple series of shapes, exploring balance, colour and volume.

In the Recom Farmhouse London studio, we took Clemens’ initial sketches and began to work with them in CGI, turning the blocked volumes into architectural elements and experimenting with the placement of the car.

Gathering references for the concrete and asphalt. We spent time observing how the materials age, plants, water, sand and other natural forces work on the angular forms of buildings.

.Collaboratively, we created the monuments, making the abstract shapes work intriguingly but believably together. And we incorporated some pre-shot elements from Clemens – for instance, skies and figures.

Working closely at every stage with the photographer, we created the perfect setting and mood for this mysterious supercar. See how the yellow image was built up in this video:

View the rest of the series here

Photographer: Clemens Ascher
Stylist: Alice Whiting
Model: Jacopo Ugolini
Make-up Artist: Amy Conley
Hair Stylist: Brooke Neilson and Craig McAtear

CGI Artists: Kristian Turner, Anna Toporova / Recom Farmhouse
Retouching: Aljaz Bezyak, Pêpe Alram / Recom Farmhouse