100% – Porsche Panamera

We relished the challenge of creating this CGI Porsche Panamera in the rain for a campaign from Kemper Kommmunikation with photographer Erik Chmil.

Here’s a look into how we made it. There’s a selection of 100% crops to zoom in on the details, and a video where you can feast your eyes on the perfectly rendered raindrops on the CGI Porsche.

We used Autodesk VRED to make the car. This execution, with its intricate raindrops, was particularly interesting. The finished image (above) is packed with finely observed details.

As always, the CGI process is grounded in observations of reality. CGI artist Ivo Stanev spent time studying the interaction between the raindrops and the surface of the car. The water acts like hundreds of tiny lenses and we found the best way to light them was to use high resolution HDRI spheres.

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Due to their hemisphere shape, formed as the round drops hit a flat surface, the raindrops catch light from the many sources in a night scene like this- street lamps, headlights, windows and so on.  This is what makes them sparkle.

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Mapping techniques:
To do this, we used high-resolution rain textures with displacement mapping. However, because we wanted to be flexible it was important to react quickly to changes, so we used both triplanar and UV mapping (the process of projecting a 2D image to a 3D model’s surface for texture mapping )

Working with triplanar mapping gives us flexibility because we can easily change the form of the raindrops,  especially as the CGI modelled Porsche has High Density Geometry. A good example is the windshield, where UV mapping allowed is to model windscreen wipers with a specific movement. For the rest of the car we used triplanar mapping for flexibility.

It was important for us to show the effect of the wind, changing the shape of the raindrops as they move along the surface of the car’s body.

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Also some elements are not as simple to add as you might imagine! We wanted moving, blurred windscreen wipers of course…so we carefully painted where and how the raindrops moved, depending on the motion of the windscreen wipers.

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The rendering took a lot of time as well – we used full Global Illumination with a lot of samples…and of course only one HDRI sphere wasn’t enough, so we had to use two or three of them.

We are really pleased with the end result – the painstaking work paid off beautifully.

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Fly though the details in our video here…

Client: Porsche
Agency: Kemper Kommmunikation
Photographer: Erik Chmil
Creative Director: Nadine Kubis
Post-Artist: Thomas Fritz / Recom Stuttgart
CGI Artist: Eugen Albrandt / Recom Stuttgart
CGI Artist: Ivo Stanev / Recom Stuttgart

100% : Virgin Broadband

Cable specifications! Some might say it’s strictly of interest to your more hardcore nerd, which of course we are. But this is what brings everyone the high speed internet we all love. So we thoroughly enjoyed the challenge of creating Virgin’s DOCSIS®3 Tech cable for a multi-platform campaign – both still and moving assets for print and video adverts.

One of the main challenges was creating a photo-realistic cable. This sounds a lot easier than it is, because when you look at a seemingly smooth metallic material in extreme close-up, it is never perfect. The minute imperfections are actually what gives metal its particular character. In previous campaigns, the cables were photographed – setting the bar high.

We developed custom shading networks including microscratch details giving them the imperfections of the real materials.

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The braiding of the cable housing is perfect, right down to the compression of the snipped ends in the wires.

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A myriad of tiny details were included, such as the champfering of the cable housing shown here.

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Every bend and kink of the copper wiring was faithfully replicated

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For flexibility in animation we developed a rig with which we could quickly adjust both the shapes and the timing of the cable’s growth.

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We made three executions of the idea – Home, Gaming and Video versions.

CGI by Recom Farmhouse for Virgin Broadband - Cable
CGI by Recom Farmhouse for Virgin Broadband - Cable
CGI by Recom Farmhouse for Virgin Broadband - Cable

 

The ads were shown all over the UK in an enormous variety of formats, all working well due to the extremely detailed CGI.

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Credits:
Made in Maya
Rendered with V-Ray
Animation composited in After Effects
Stills retouching in Photoshop
All by Recom Farmhouse London

Making of : Kronenbourg 1664 campaign

The latest Kronenbourg 1664 campaign for French advertising agency Herezie has been a great creative challenge. Working closely with the agency from pitch, through studio and location photography to CGI and post production, we were briefed to extend the iconic 1664 ribbon beyond the confines of the bottles label. The creatives at Herezie wanted us to push the boundaries of possibility, playing with perspective and scale in order to create a perfect red cross. Hence, we crafted pink flamingos flying over real beaches, a string of buoys floating on the Mediterranean Sea, a luxurious rooftop bar overlooking the Seine River with laser beams lighting up the city’s night sky which, together with the beer, continue the red ribbons of the 1664 logo.

Recom Farmhouse 1664 advertisign campaign with Alessandra Kila

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Making of : Full CGI landscape for Audi Quattro

This is the biggest international campaign Hamburg agency Kolle Rebbe has ever produced and it was also our most complex CGI production ever!

For Audi we created a full CGI winter landscape spiralling within itself: road, trees, rocks, snow, clouds and sky all curl around into a perspective that would have been impossible to photograph.

In these scenes the cars, also created in CGI, are speeding on a snowy road next to ski runs with real competing athletes.

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Audi Quattro Winter Campaign

Audi Quattro Winter Campaign (detail)

With a total of 52 motives distributed in 180 ski areas in Germany, Austria, Italy, Switzerland and France, the teams in Berlin, Stuttgart and London joined forces to produce these mind twisting visuals under extreme time pressure. The heavy geometry of the landscapes required us to create a new pipeline to handle the different assets and be able to sculpt, texture and light the scenes in real time.

 

Client: Audi Agency: Kolle Rebbe Creative Director: Jörg Dittmann Art Director: Benjamin Allwardt Project Manager: Amelie Pamp Art Buyer: Katja Sluyter Post Production Project Manager : Lars Wittmark CGI Directors: Christoph Bolten and Jonas Braukmann / Recom Farmhouse CGI Lead Artist: Kristian Turner / Recom Farmhouse CGI Artists: Richard Jenkinson, Florian Einfalt, Dariusz Makowski, Christian Schemer / Recom Farmhouse Post Artists: Pepê Alram, Kate Brown, Nele Ebner and Jonas Braukmann / Recom Farmhouse

Audi Quattro Winter Campaign

Client: Audi Agency: Kolle Rebbe Creative Director: Jörg Dittmann Art Director: Benjamin Allwardt Project Manager: Amelie Pamp Art Buyer: Katja Sluyter Post Production Project Manager : Lars Wittmark CGI Directors: Christoph Bolten and Jonas Braukmann / Recom Farmhouse CGI Lead Artist: Kristian Turner / Recom Farmhouse CGI Artists: Richard Jenkinson, Florian Einfalt, Dariusz Makowski, Christian Schemer / Recom Farmhouse Post Artists: Pepê Alram, Kate Brown, Nele Ebner and Jonas Braukmann / Recom Farmhouse

Audi Quattro Winter Campaign

 

Our CGI artists started with a simplified geometry of the spiral. Once the basic shape was achieved, this could then be sculpted in detail. In the meantime other artists were generating and rendering trees and moss.

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Simplified geometry to create the spiral landscape

A small team went to Poland another one went to Chamonix in France where thanks to our friends Nick and Martha, we found the perfect locations to photograph and scan cliffs and rocks with a drone.

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First 3D result of scanned rock

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First 3D result of scanned rock

Terrain Geometry

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CGI Trees

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Audi Quattro Winter Campaign

Client: Audi Agency: Kolle Rebbe Creative Director: Jörg Dittmann Art Director: Benjamin Allwardt Project Manager: Amelie Pamp Art Buyer: Katja Sluyter Post Production Project Manager : Lars Wittmark CGI Directors: Christoph Bolten and Jonas Braukmann / Recom Farmhouse CGI Lead Artist: Kristian Turner / Recom Farmhouse CGI Artists: Richard Jenkinson, Florian Einfalt, Dariusz Makowski, Christian Schemer / Recom Farmhouse Post Artists: Pepê Alram, Kate Brown, Nele Ebner and Jonas Braukmann / Recom Farmhouse

Audi Quattro Winter Campaign (detail)

Client: Audi Agency: Kolle Rebbe Creative Director: Jörg Dittmann Art Director: Benjamin Allwardt Project Manager: Amelie Pamp Art Buyer: Katja Sluyter Post Production Project Manager : Lars Wittmark CGI Directors: Christoph Bolten and Jonas Braukmann / Recom Farmhouse CGI Lead Artist: Kristian Turner / Recom Farmhouse CGI Artists: Richard Jenkinson, Florian Einfalt, Dariusz Makowski, Christian Schemer / Recom Farmhouse Post Artists: Pepê Alram, Kate Brown, Nele Ebner and Jonas Braukmann / Recom Farmhouse

Audi Quattro Winter Campaign (detail)

 

It has been a lot of intense work to produce all the visuals for this campaign, but nonetheless an amazing collaboration with the creatives at Kolle Rebbe! . . .  and the campaign is everywhere!

Client: Audi Agency: Kolle Rebbe Creative Director: Jörg Dittmann Art Director: Benjamin Allwardt Project Manager: Amelie Pamp Art Buyer: Katja Sluyter Post Production Project Manager : Lars Wittmark CGI Directors: Christoph Bolten and Jonas Braukmann / Recom Farmhouse CGI Lead Artist: Kristian Turner / Recom Farmhouse CGI Artists: Richard Jenkinson, Florian Einfalt, Dariusz Makowski, Christian Schemer / Recom Farmhouse Post Artists: Pepê Alram, Kate Brown, Nele Ebner and Jonas Braukmann / Recom Farmhouse
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CREDITS:

Client: Audi
Agency: Kolle Rebbe
Creative Director: Jörg Dittmann
Art Director: Benjamin Allwardt and Marcus Kubicke
Project Manager: Amelie Pamp
Art Buyer: Katja Sluyter
Post Production Project Manager : Lars Wittmaak / Recom Stuttgart
CGI Directors: Christoph Bolten / Recom Farmhouse London and Jonas Braukmann / Recom Berlin
CGI Lead Artist: Kristian Turner / Recom Farmhouse London
CGI Artists: Richard Jenkinson / Recom Berlin; Florian Einfalt and Dariusz Makowski / Recom Farmhouse London; Ivo Stanev / Recom Stuttgart
Post Artists: Pepê Alram and Kate Brown / Recom Farmhouse London; Christian Schemer and Nele Ebner / Recom Stuttgart; Jonas Braukmann / Recom Berlin

Making of : Mercedes Sprinter

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Kai Tietz approached us with yet another awesome Mercedes-Benz Sprinter advertising campaign – and we were happy to be part of the usual Team. We worked together with photographer Martijn Oort to create a series of visuals for the new Sprinter Edition campaign. Martijn was responsible for the photography part and CG supervision. He photographed the backplate and all the people. We created the vehicles and other key elements of the images in CGI. Kai Tietz managed the whole project in the background.

In the scene above, the balloon and the lower part of the building on the left hand side have been created in CGI. Due to location limitations on Berlin Gendarmenmarkt, we weren’t allowed to remove umbrellas in the background. That’s why we partly replaced the lower bit of the building with CG elements.

Martijn directed up to 50 people on a carpark in Berlin to populate the scene. All the people in the crowd have been masked and placed one by one in the image.

It was fun to create the balloon, although there were not lots of appropriate references to follow when it came to inflated elephants. We had to ask ourselves: “how does an elephant balloon fold once in tension?” and “how do the different parts of the balloon join together?” Below are screen grabs of the elephant modelled in Zbrush.

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Here is the final CGI elephant balloon.

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Below is a point cloud from our scans of the building we used to replace the umbrellas on Gendarmenmarkt.

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For the image below, the whole quarry has been 3D scanned and recreated in Maya, though we only rendered the areas around the drillhead for the final image. The full quarry geometry helped us to position pipes, screws and detail elements on Martijn’s backplate photography anyway. The drill has been modelled in Zbrush and then we rendered everything (despite the vehicle, that was Vred) in Vray.

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This is a snap taken whilst our CGI director and artists where on location scanning the quarry. And below a 3D cloud of the quarry’s wall stitched together.

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Below are the sketches for the drill and the  geometry created in ZBrush.

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Martijn shot lots of awesome falling dust and gravel bits that we comped in photoshop. Have a look at the details of the final image by clicking on the image below and zooming in 100%.

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CREDITS:

Client: Mercedes Benz
Agency: Lukas Lindemann Rosinski
Photographer: Martijn Oort
Projectmanagement: Kai Tietz Produktion Gmbh
Art Director: Dennis Mensching
Post-Artist: Jonas Braukmann / Recom Berlin
CGI-Artist: Richard Jenkinson / Recom Berlin

Making of : Duckstein Beer by Markus Mueller

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For the new Duckstein campaign, photographer Markus Mueller was asked to visualise two men drinking on top of a pint of beer with the foam spilling out and blending into a cloudscape. For this surreal scene Markus contacted CGI director Thorsten Jasper Weese at Recom because he needed to create most of the image in CG. Markus provided us with lots of backplates of real clouds shot during the numerous flights he had taken to photograph the other images for the campaign. We ended up using his shots for the clouds in the distance, and the ground visible through the gaps of the CG clouds. We then developed together with Markus the visuals for the foreground clouds in CGI.

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The boxes above are called ‘Bounding Boxes’. They effectively define the boundaries of each of the clouds’s volumes that we have created in CGI.

Image converted using ifftoany

The wire frame above explains better the geometry that our CG artist Richard Jenkinson has used for the making of the clouds.

He also created different passes to help our creative retoucher Jonas Braukmann in making the content of the pint look real.

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The render of the white cloud pass is the light and shadow created by the sun. The red one has been used to mimic the sunset warm light. The last render is a ‘World Normals’ pass. The colours indicate the direction of each of the tiny parts of the fluid, which all together, make the cloud. This allowed our retoucher to fine-tune the light and shadow.

And this is how Jonas did it.

Client: Duckstein Photographer: Markus Mueller CGI-Director: Thorsten Jasper Weese Post-Artist: Jonas Braukmann CGI-Artist: Richard Jenkinson

CREDITS:

Client: Duckstein

Photographer: Markus Mueller

CGI-Director: Thorsten Jasper Weese / Recom

Post-Artist: Jonas Braukmann / Recom CGI-Artist: Richard Jenkinson / Recom

Making of : The dark side of Los Angeles (part II)

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This is yet another image we have created in collaboration with photographer Markus Wendler for the series “The Dark Side of Los Angeles” which visually narrates ambiguous stories in downtown LA. The vintage cars appearing in each image are completely created in CG.
For this one we used a classic Chevrolet Camaro. Markus photographed the backplate, whilst we shot the models against a green screen and we then comped them into our CG car.

Below is how we assembled all together.

It is a welcome change of subject for us to work on old and used cars as we need to add lots of extra details which are at the opposite end of the perfect glossy surfaces we are used to work on. So here for example we had to add condensation on the car windows, scratches, dust, rust, worn tyres and finger prints. All details which make a car look real!

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See the series on our website or on Behance.

 

CREDITS:

Photographer: Markus Wendler
CGI-Director: Christoph Bolten
CGI-Artists: Kristian Turner, Richard Jenkinson, Simon Watts, Dariusz Makowski
Post-Artists: Kate Booker, Riikka Eiro, Pepe Alram

Renault site specific campaign for Düsseldorf Airport

Megaposter_Nr.65_OMG_Renault (15)_CHR-1

For this site-specific project we were asked by creative director Felipe Nunes Franco to visualise a Renault car breaking through the glass facade of Düsseldorf airport.

Excited by the idea of producing an artwork for a site specific project, a member of our Stuttgart team drove to Düsseldorf for a day to take reference pictures of the actual facade together with the exact measurements of the glass panels. In fact we had to accurately reproduce those dimensions in CG so that the billboard could exactly substitute and replicate the covered area with the car breaking through it.

 

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In our studio in London, our CGI director Kristian Turner started to work on the geometry of the architecture and the car. In order to make the glass shattering into pieces, he found it easier to actually simulate a car crashing against a glass panel. Pepe, our senior retoucher overlaid the cracked glass and flying shards into the final composition.

glass shatter blast by recom farmhouse

 

… and here is the final campaign!

RECOM FARMHOUSE for Renault
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CREDITS:

Client: Renault
Agency: Publicis Pixel Park
Creative Director: Felipe Nunes Franco
CGI Director: Kristian Turner at Recom Farmhouse
CGI Artist: Kristian Turner at Recom Farmhouse
Post Artist:
 Pepe Alram at Recom Farmhouse

Making of : Ford Explorer

Shot by photographer David Westphal, this production of images is another fine example of how realistic CG images can look! Our New York team traveled with David to the amazing forests, parks and beaches near Portland, Oregon. Our team provided both on-set retouching and pre-visualisation to allow everyone to see the car in situ and decide on the angles.

We are so pleased with the outcome of this series of images that we would like to show both the making of, as well as some details of the images zoomed in at 100%.

MAKING OF: FORD EXPLORER

UNRETOUCHED BACKPLATE vs FINAL IMAGE:

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UNRETOUCHED BACKPLATE vs FINAL IMAGE:

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UNRETOUCHED BACKPLATE vs FINAL IMAGE:

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IMAGE ZOOMED IN AT 100% (click on the image to enlarge)

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IMAGE ZOOMED IN AT 100%

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IMAGE ZOOMED IN AT 100% (click on the image to enlarge)

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FordExplorer

CREDITS:

Agency: Team Detroit
Art Director: Andrew Smith
Photographer: David Westphal
CGI/POST: Recom Farmhouse NYC Team

100% : NISSAN QASHQAI

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Here is the Nissan Qashqai advertising campaign commisioned by TBWA Paris. In these full CGI images the car is placed in an imaginary glass city.

Enjoy the details!

 

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Below: New Nissan Qashqai with auto “I can park without touching a thing, including the steering wheel” mode.

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CREDITS:

Client: Nissan
Agency: TBWA G1
Art Director: Cecilia Astengo
Creative Director: Carina Wachsmann, David Chalu, Rudi Anggono.
CGI Director: Kristian Turner @ Recom Farmhouse
CGI Artist: Kristian Turner and Simon Watts @ Recom Farmhouse
Post-Artists: Kate Booker and Riikka Eiro @ Recom Farmhouse

Posted by Alessandra

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