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. “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:
…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…
Setting up in the early morning – classic Tuscany landscapes:
Burning the midnight oil by the pool:
Some of the final results in print, in Harper’s Bazaar:
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.
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. This helped greatly for lining up shots, and for the talent to interact with – especially for loading and unloading surfboards, bikes and so on. 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.
See how this shot was created in our “Making of” video here:
Next was a beach location. 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.
On set in a contrasting location – a very cold morning as we shoot the truck in the snow. With the truck driven away, Richard sets up the Lizard to capture a spectacular mountain backdrop.
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:
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
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.
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:
The Mercedes E-Class with Nadav Kander for Antoni – a fascinating project creating an extraordinary car campaign. Strong lines, clear colours and striking textures combine with abstract architecture, surreal volcanic landscapes and of course the sleek refined lines of the flagship convertible.
The concepts contained angular modern architectural elements, contrasting beautifully with rough organic texture of the volcanic rock. Initially the idea was to have a modular set built that could be moved around the platform. However, this had a number of logistical and timing difficulties and so our Berlin team offered to create the elements in CGI instead. We were able to work directly with the art director in the studio to experiment with the utmost flexibility. In this way, we could perfect the shape and angles to match the layouts perfectly before the shoot began, whilst adhering to Nadav Kander’s input of keeping everything as simple as possible.
Testing the layouts and trialling different options:
Scouting for the perfect locations for HDR spheres in the volcanic island landscapes:
After Lanzarote, we took more backplates at this spectacular location on the Spanish coast. This was the view from the infinity pool – if you squint, you can just see Africa.
The crew assemble…
Only the topmost graduates of The Handsome Boy Modelling School can throw a towel off and jump in the pool with such verve and élan…
Our own modelling efforts are less professional.
Still, everyone looks better with a giant yellow head. You can just see the base of the cherrypicker beside the pool, to take the shot from a direct birds-eye view.
High up above in the cherrypicker
Up in the sky for the perfect angle
The Recom poolside cabana is fully equipped! Processing and checking everything will fit together perfectly.
As the car was top secret at the time, it couldn’t be photographed on location, and was shot at a secret platform on a closed set with high security. We lived for a few days in a gilded cage, not leaving the hotel with its three shooting platforms.
This was our work view for the week! We have to confess we much preferred the pool….
Once the car and backplates were safely captured, we began work on putting together the images. We set the car seamlessly in the volcanic landscapes, and refined the textures and shapes of the CGI architecture.
Photographer: Nadav Kander
Creative Director: Tillmann Gossner
Art Director: Patricia Scheder
Art Buyer: Valerie Opitz
Representation: Olivia Gideon Thompson at We Folk
CGI Artists: Sebastian Schierwater / Recom Berlin
Post Artists: Jonathan Clarke, Jonas Disch, Stephanie O’Connor, Jonas Braukmann / Recom Berlin
The i3S is the sportier brother of BMW’s electric compact car. For the launch, BMW wanted a strong real-life feeling – as if passers by had taken some snapshots. Shot over eight days in the streets of San Francisco, Andreas Hempel used natural light in urban situations, using a current model as a stand-in.
With the plan being to use as much natural light as possible, the preparation day started out rather worryingly…
However the next morning was much improved and the team assembles for the first shot:
Timelapse of setting up a shot:
Lunch break, San Francisco style
As each first day’s shooting is complete, with on-set support from our Stuttgart team, we prepare to work our magic!
Reference photos for wheel reflections.
More high-speed work
Getting on the the low down for the perfect angle…
A complex setup to capture a spontaneous moment…
Setting up the shot, preparing for the moment when the light is at the perfect angle
And – there it is! We swapped in almost the entire front plus a few other distinctive parts of the new model in CGI, and intensified the dark, shadowy look. See the full series on our site here
Photographer: Andreas Hempel
Creative Directors: Jan Grothklags, Falk Pegelow, Mark Räke
Art Director: Christine Behrendt
CGI Artist: Andreas A. Maurer / Recom Farmhouse
Post Artists: Jonas Disch, Laura Kißner / Recom Farmhouse
Inspired by the 80s horror movies we love, and particularly by The Evil Dead, we decided it was time for us to star in our own Night of Terror. Of course we’ll need the right vintage of car, complete with wood-effect side panels.
Image one: The Axeman Join us as we willingly enter our own world of fear in the Making-of video!
[vimeo 237740867 w=640 h=360]
Now we’ll drive together from our small-town American home to a cabin in the woods…what could possibly go wrong?
Image 2: The Cabin
We built our movie-inspired sets in CGI using Maya. We were striving for a cinematic feel to the scene, so the environment is all-important – it becomes a character in the story that we’re telling.
With the layout of the shot decided, we added textures, and began work on the lighting.
For lighting direction we found a lot of inspiration from the photographer Gregory Crewdson. The exquisite lighting of his elaborately staged photographs, many of them taken at night, create a mood that connects the viewer to the story he is trying to tell.
We lit and rendered the scene in Vray and rendered volumetric fog for the desired atmospheric effect.
With final adjustments in Photoshop, the scene is set.
What will happen to us here? Will we stay together, sensibly turning our finely tuned monitors into security cameras, and using our Wacom styluses to defend ourselves? Or will we inevitably become separated in the forest? …Stay tuned….
After his work with the musician in a studio the photographer asked us to add a specific Manhattan skyline view as a background.
Sandro suggested the perfect place – a rooftop bar with spectacular views. Our New York team organised the permit and set out to shoot the night time scene. As the location did not allow the use of tripods we had to shoot at a high ISO setting, but by stitching together many exposures we were able to make a handheld ultra high resolution panorama.
The initial stitched panorama:
Our studio in London created the piano, room elements and flooring in CGI and merged them skilfully and seamlessly with the panorama and the portrait to create an atmospheric night-time cityscape.
See how the image was built up in the Making-Of video here:
The final campaign image with added product photography, as used on billboards and in magazines worldwide.
Here are three photographers whose landscape work we’ve enjoyed recently for its originality and unusual approach…
In Northern Japan, Arito Nishiki photographs the wild weather on this ever-changing coast, capturing the vivid movement and the winter darkness. This series is named after a village that slipped into the sea due to the relentless erosion from the force of nature. Immerse yourself in his world here.
“Grow Up” is the most extensive content creation in Mercedes-Benz’s history. Produced by Antoni, it’s a groundbreaking campaign centred around five short films. With young stars like rapper A$AP Rocky, the films tell a story that completely revolutionises the image of Mercedes-Benz, with the car becoming a natural ally for millennials in their journey to adulthood.
“Our competition isn’t ads, they’re real films, real TV shows. Stealing four minutes from the time people would be watching their favourite show on Netflix is a tall order, so we tried to be honest with ourselves with what people might actually be interested in.” – Veit Moller, Creative Director (LBB editorial interview)
For the accompanying stills, we worked closely with CD Veit Moeller and young photographer Alice Moitié – printing and re-scanning, adding grain to create a strongly analogue film look, with CGI elements helping with the practical aspects of a worldwide campaign.
The campaign’s media locations are as bold and eyecatching as the rest of the execution, with colossal end-of-wall murals featuring single shots montages from the campaign, and big bold statement cubes in high traffic areas.
The shots were also a big success across digital media, showcased on the innovative website and shared widely on social networks.
The campaign has drawn wide praise for its radical approach
“Mercedes-Benz’s Most Ambitious Marketing Project Yet Is All About What It Means to Grow Up Tackling the evolution of luxury … and, well, life” – Adweek (Ad of the Day)
“It’s hard to make a good car ad these days. Audiences are bored of the slick fare they are usually offered, and yet most clients still really, really want that shot of the beautiful new vehicle driving around the cliff edge. In this new set of films, those scenic shots are there …nestled in among a set of stories that are intriguing, and at times a little darn bleak….These new films make a welcome addition to the car-ad-as-short-film genre and sure beat the average shiny car spot.” – Creative Review
Client: Mercedes Benz
Creative Director: Veit Moeller
Photographer: Alice Moitié
Post Artists: Jonas Braukmann, Thomas Saalfrank, Julia Ackermann, Daniel Mattes, June Lee, Stephanie O’Connor / Recom Farmhouse
Art Buyers: Emanuel Mugrauer, Valerie Opitz, Marjorie Jorrot
Production: Iconoclast Germany
It’s always one of our favourite experiences when someone turns up out of the blue with a really extraordinary project for us to work on – makes our mouse hands itch to start! – and this series, inspired by Dutch and Flemish paintings, was a truly inspiring collaboration.
Jonas Lord explores the culture of victimhood in various metaphorical visuals with staged surreal scenarios. Post Artists Pepê Alram and Maria Calosso at our London studio helped Jonas with the series – this was a great combination, with the team working very smoothly together in a real synchrony of vision and ideas.
Jonas describes the series in his artist statement below:
“The series begins with an image of baby tigers – the symbol of the east – on a chopping board about to be consumed by rapid westernisation”
“It then speeds up with an image of a woman’s body devoured by wolves on a dinner table speaking about consumerist scrutiny of the female form in our culture.”
“In one of the photos, a tied up woman is calmly staring at the camera–she’s chosen to be in the position of an objectified woman. It’s not to victim blame but to comment on how society grooms certain people to consciously take part in their own victimisation.
We desperately snap Instagram pictures of ourselves from the best angles in hopes to be admired which ties us up to the desperate daily dose of admiration.
In this photo, the men are also reduced to faceless stereotypes who turn into animals as they step on the chess board.”
“We desperately try to adhere to whatever beauty standards are on trend, which I explored in the pic with two teenage girls awkwardly posing while shaving their body hair. I juxtaposed them with sheep in the foreground the inspiration for which came from a feminist protest in 1969 where protesters dressed up a sheep as Miss America.” Do retouchers dream of electric sheep?
“Through these visual metaphors I was looking for ways to explore the manifold nature of victimhood. Do we choose to be victims? Are we groomed to be victims?”
We’re delighted that Jonas Lord approached us with his fascinating series and we’re stoked to work with this amazing new talent.
Photographer: Jonas Lord
Post Artists: Pepê Alram, Maria Luisa Calosso, Kate Brown / Recom Farmhouse