Making Of ‘Au_XLR8R’ with Thomas Brown and the_kyza – Full CGI

Recom Farmhouse London are proud to present ‘Au_XLR8R – a Full CGI charged-up collision of leading artists in car design, CGI and photography.

Thomas Brown wanted to bring his unique vision to the world of automotive photography. He often works with a set designer to create a physical world, whether it’s a sci-fi storm for Wallpaper or explorations of volume and mass for Frame. For a car, only CGI can bring this freedom of vision.

Khyzyl Saleem‘s work (@the_kyza) is a high-octane mix of the wildest aspects of car design: evolved from the explosive creativity of gaming, founded in an in-depth knowledge of the realities which is fuelled by his bodykit business, extending those outrageous modifications to real-life cars.

Recom Farmhouse ourselves are always looking for new and energising ways to fuel the possibilities of full CGI. We asked Khyzyl if he could provide one of his models for us to work with. With this model, we would create a detailed virtual studio inspired by Thomas’s references, collaborate on the creation of a series of images in this digital set, and then grade them to perfection.

 

The Concept

Thomas’ reference roared and fizzed with energy for us to create his desert art space in an American landscape, an environment liminal in space, time and human intervention. The car would be set as a sculpture, with an elemental quality incorporating ideas of gold, particle collisions, sculpture & precision engineering.

The Car

Khyzyl chose a 1989/91 Porsche 944 Turbo KS combined with 2022/23 992 GT3 RS Variant to be the centrepiece of the installation. Thomas’s vision was a car of pure gold in colour: a glossy and perfect mirror finish, an outrageously extravagant paint job, full of interest with the complicated lighting.

 

The Studio

In Recom Farmhouse’s London studio, CGI artist Aljaz Bezjak created an outdoor studio in Blender as a setting for the car, complete with supports, rigging and power supply. The site has its own ecology and geology, with scrubby desert plants against a background of far mountains. These small ‘real world’ details are what’s vital in making the environment, grounding the exhilarating fantasy in a believable reality.

 

“Mesmerisingly beautiful interactions between particles as they collide at high speed sending them spiralling off from their trajectories. The images chart the path of a particle, chance impacts and ultimately how the influence of others can permanently change their course. ”

– Thomas Brown

The images were ‘shot’ in a very reality-based method, according to Thomas’ usual practice. He would choose a lens and ‘walk’ around the environment just as he would in a real studio, selecting viewpoints that are coherent with those limitations. The point of view could almost be that of an art tourist, taking phone pictures of this desert installation for Instagram, but with the quality that only this attention to detail can bring.

 

” A roadside monument to science, energy, engineering and human creativity.  Inspired by phenomena, physics, chemistry, innovation and teenage wonder.  The excitement of the Gold Rush, frantic exploration and pioneering in search of fortune and the future.”

– Thomas Brown

The final images are a riveting combination of reality and fantasy, on the border of night and day.
See the whole series on our site and on Behance

Photographer: Thomas Brown
Post Artist: Aljaz Bezjak / Recom Farmhouse London
Car Model: Khyzyl Saleem @the_kyza

 

 

 

Making of “Tales of Mystery And Confusion” with Clemens Ascher

“In this series, I show mystical figures from a vaguely remembered tale performing cryptic gestures and ominous rituals.” – Clemens Ascher.

Collaboration with Clemens is always an extraordinary journey. In this series, retouching combines CGI with fine art.

The concept was to have the look of a 2D collage, with fabric and other props produced in 3D and then combined with the figures which were shot in the studio.

As CG artists, normally we are purely concerned with getting an image as close to reality as possible. In this case, Clemens wanted a combination of photo-realism with perspectives that are just a little ‘off’, to give a surreal, disjointed feel. This is a fine line to walk in post-production, and an exciting challenge for us, with a huge amount of creative freedom and input. The details of our renderings and lighting were very much an integral part of the artistic process.

For instance, the floors for some images are correct in 3D space for shadows etc., but their texture is applied almost like a 2D collage, without much depth in the perspective depth happening. “Amber Queen”, below, is a very good example for this effect.

Conceptually this references medieval art with its odd sizes and perspectives, which is also referred to in some of the props we created like armour and shoes. These tensions of opposites are present in many aspects of the series, producing the effect of strangeness that Clemens wanted.

Technical Process:

We began each image by setting up a CG space as a match for the camera and model, for shadows, indirect light and reflections.

Clemens provided a sketch for each figure, and from this, we began to block out shapes, exploring forms and thinking about the silhouette. With every element, we started with reality.

“Amber Queen”

Here for instance, for the armoured dress, we looked at real armour, how it’s made and jointed, and how this would wear – before working with the shapes to give it uniquely unreal, skewing asymmetry.

Substance Painter gave us the possibility to create a realistic, used appearance for our materials, and we then used our virtual lighting rig, adjusting the original settings to make them work for the completely different properties of armour.

 

We had previously developed our own system for making realistic amber with flaws, shapes and colour all generated from our own observations. Using this ultra-realistic natural material to make a hat was typical of the tension between reality and unreality that Clemens was looking for.

“EXORCIZE”

We generated the amber again for this image and also a mysterious mountain range to set the figures in.

For “EXORCIZE” we used Houdini again for the pink hair, inputting geometrical parameters to produce a true natural feel – a great opportunity to push this software in an unusual environment.

“MELANCHOLY”

We built this tutu in a completely different way, as if this was a real life fashion project with the correct crinoline construction underneath it. We tested this with different materials such as lace, bringing our machines very close to their computational limit!

Working like a fashion designer would, we tried many different fabrics to get the rich, ruffled texture that we wanted, to complement the severe geometric shape of the skirt itself. Here you can see two other options in lace and chiffon.

With the final decision to use a light tulle, we achieved the affect we wanted: a solid block of fabric with a light, foamy texture, that tension of opposites working again to destabilise perception. Zoom in for the details that make the difference

Grading

With the series complete in structure, the files went from Germany to Recom Farmhouse London for Creative Supervisor Kate Brown to fine tune the compositing from all the different applications, and colour grade the images.

For the grade, she took inspiration once again from paintings – ranging from medieval icons to renaissance masterpieces in oils. A simplified, painterly treatment, giving the sense of collage whilst bringing detail out of the blacks, and enhancing the sense of archetypal forms. Here’s a view of the full process from original sketch to finished image.

We’ll leave you with some thoughts from Clemens Ascher:

“Seeing these naturally raises some crucial questions:
What is their message?
Can they protect us?
Will they guide us in our search for salvation?
And can we even trust them? – Probably not.
But you can worship them, let them take important decisions or cure your agonised bodies – good luck! “

 

See the whole series on our site here and on Behance here

Photographer: Clemens Ascher
Creative Director: Kate Brown / Recom Farmhouse London
CGI Artists: Sebastian Schierwater, Richard Jenkinson, Dennis Brinkmann / Recom Stuttgart
Post Artists: Jonas Braukmann, Stephanie O’Connor / Recom Berlin

Making of Lincoln with Uli Heckmann

Building the perfect stage for the super cool L100 concept car was an exciting task for our Sofia based studio Recom Blacksmith, that also specializes in full CGI environments. The goal was to create a believable salt desert with a very specific mountain range which photographer Uli Heckmann was envisioning.

Starting with a foreground detail and a base pattern, small rocks were scattered to create a more realistic salt lake effect.

Eventually, the patch was used to cover 40 square km which was a breeze using Clarisse. The scene was then optimized and reduced from 28 quadrillion polygons to a mere 4.5 quadrillion.

The next step was adding the water by cutting into the geometry. The position and shape of the glassy, shallow puddles remained flexible to be able to react to feedback from the client.

For the mountain range satellite data came in handy to build and match the photographer’s imagined scenery.

The final treatment was applied by our Stuttgart post team who colour graded and polished the series to stunning results.
See more exterior angles and the futuristic interior (sans steering wheel) on our website.

Client: Lincoln
Creative Lead: Uli Heckmann
Coordination: Tim Michel Producer
CGI: Ivo Stanev / Recom Farmhouse
Post Artists: Christian Schemer, Daniel Seiler, Frank Hoppler, Fabian Stehle / Recom Farmhouse
Supervision: Thorsten Jasper Weese / Recom Farmhouse

Bienvenue à Recom Paris!

As Creative Director of Recom Paris, Pepê Alram returns to his French roots to combine Recom’s depth of post-production experience with the distinct spark of magic that always delivers beyond what’s expected. From Brazil, Pepe moved to Recom Farmhouse London, rising rapidly to be the creative lead on flagship retouching projects for clients like BMW, Mercedes, and Bentley.

With passion for any challenge and an eye for quality, he never forgets the main purpose of his career is communication, striving always for a more personal approach, searching out the unique focus of each project with each client, to know just what’s needed to make it shine.

Pepê brings his love of collaboration and challenge to work closely in French creative partnerships both long-standing and new, and to add a touch of Brazilian warmth to the industry here in the bleu blanc rouge.

Combining visual flair and an eye for detail with a personal approach and profound knowledge of the industry, Recom is fired up to build lasting in-depth artistic relationships immersed in the unique environment of the creative industries of Paris.

The aesthetic refinement that French creatives demand is a perfect match with our passion and commitment to those final touches that make all the difference.

Tomek Makolski for Renault, retouching by Recom Paris. View full project here.

Recom’s international studios give us huge, round-the-clock capacity and an incredible depth of talent, united by boundless enthusiasm for visual arts. At the same time, because each studio is small and unique, we keep the distinctive spirit of a boutique operation.

He & Me for Nissan at TBWA, with CGI by Recom Farmhouse and retouching by Recom Paris. View full project here.

We put a lot of value on strong creative relationships whether it’s photographers, art directors, editors or more unusual creative collaborations. We’re perhaps best known for high end, imaginative and aesthetic automotive work, but we love to stay fresh and creative with a huge variety of projects, for instance in fashion or fine art.

He & Me for Renault ZOE at Publicis Conseil, retouching by Recom Paris. View full project here.

 

We are proud to add our new French studio to the energy of London, New York, Stuttgart, Berlin and Sofia.

Recom Paris has now opened its doors. Bonjour, have a seat, take a glass of wine.

Let’s make some beautiful images together.

Recom Paris

4 Impasse Chausson
75010, Paris

In Situ: Star Wars, Disney & VW with Chris Noltekuhlmann

Inspired by the design features of its iconic ancestor from the 1960s, VW introduced the new fully-electric ID.Buzz during a promotion of the Disney+ Star Wars Show ‘Obi-Wan Kenobi’ by Lucasfilm.

Chris  shot the revamped ‘Bulli’ admired by two legendary droids at the Walt-Disney Studios in Burbank, CA. Quite a few crew members were stuck at the hotel with Covid during the time of the shoot but thanks to remote access and a strong core team on set the shots came together nicely.

In post our Stuttgart studio shifted the colours to create a glowing contrast between the purple sky and yellow sheet metal, accentuating the otherworldly atmosphere.

The campaign has been shown on enormous poster sites around Europe:

 

VIew the campaign on Behance and on recomfarmhouse.com.

Client: VW
Agency: Scholz & Friends Hamburg
Photographer: Chris Noltekuhlmann
Creative Director: André Huber
Art Producer: Kerstin Mende
Producers: René Steinvorth, Dylan Sido / Willson Project
Stylist: Madeleine Zöller
Makup: Fee Steinvorth
Photographer’s Assistants: Florian Brandl, Kip Corley, Jay Diebel
Post Artists: Christian Schemer, Fabian Stehle / Recom Farmhouse

Making of “A Hypnotic Journey” with Alessandra Kila

“Through the mechanical and perpetual movements of diamonds, malachite, tourmaline and pearls the viewer is taken from a rational state of mind to a trance-like hallucination where both image and colours react to the altered state of mind. Jewels are real, but they are also a sub-conscious reality that exist as a state of desire in our mind.”

– Alessandra Kila

 

Follow Alessandra Kila into a world of hypnotic machines that enthrall through their perpetual movement. Working closely with our London studio, a triptych of full CGI videos evolved, each featuring a piece of Chanel jewellery functioning like an entrancing device: a necklace oscillates like a pendulum, a ring repeats the pattern of a spinning machine and a bracelet echoes the circular movements of a gyroscope.

How we made it:

Starting with a moodboard of references drawn from architecture, fashion, textures and art,  Alessandra Kila created a world with a highly  curated and very distinct slant on Art Deco.

The jewellery was recreated in CGI from the  original pieces, with great attention paid to the texturing of surfaces and the properties of the precious stones. Detail is everything…

For the animations Alessandra and our 3D artist Anna Toropova tested and observed the movements in real life before imitating them on screen. For instance, repeatedly dropping and filming a pearl or a ring, then replicating its motion in CGI.

At times that meant working frame by frame to achieve the most realistic flow. Clay renders below show the careful, precise progress of  the work.

The simplified set design and colours subtly harmonise with the Art Deco style of the jewellery pieces.

The sets are particularly inspired by ideas around vitrines and the display of precious objects.

Glitchy psychedelic interruptions jolt the viewer from their reverie, creating dramatic dissonances.

Initial tests show wild experimentation for colours that have just the right qualities.

The final colour grading and sound design pull all the pieces together – blending these two aesthetic worlds.

 

View all three pieces together on our website.

 

Director: Alessandra Kila
Concept, Look Development: Alessandra Kila
Full CGI Motion and Stills: Recom Farmhouse
Editor: Zoe Alexandrou
Music Composer and Sound Designer: Manuel Pinheiro
VFX: Alessandra Kila
Compositing: Felix Baesch / Recom Farmhouse
Modelling: Tanguy Koutouan / Recom Farmhouse
Texturing and Shading: Joe Carney / Recom Farmhouse
Animatics and Lighting: Anna Toropova / Recom Farmhouse
Color Grading: Christoph Bolten / Recom Farmhouse
Still Retouching: Aljaz Bezjak, Maria Luisa Calosso / Recom Farmhouse

Making Of “Haze”

Project: Haze Creative Director: Kate Brown CGI Artist: Marvin Lübke Post Production: Kate Brown Aljaz Bezjak

Tomek Makolski collaborates with Recom Farmhouse to create full CGI staging for an evocative slice of 80s Vegas life.Bored but ultra-glamorous, she stalks her enclosed world of a motel in purest yellow. The images are drenched in intense pastel yellows and blues, but below the surface gloss of this sunny palette, there’s tension in these moments out of time, a sense of detachment, drift and dream.

Why this solitary intermission in her life, just killing time?

Subtle cues in the setting hint at an ambivalent celebrity and faint, atmospheric menace.

A Look Behind The Scenes

We were delighted to collaborate with Tomek to bring this idea to life.

The model photography was already complete, so we began with her character, working collaboratively to imagine a setting for her that would be right for her aesthetic…stylish but faintly gritty.

With a huge variety of movements to choose from, we chose those that contributed to the atmosphere we are trying to build – strongly defined poses with interesting shapes – and built an environment for this character to inhabit.

A sense of place is central to creating realistic environments, even though we didn’t want to without being too explicit about the location. We settled on suburban Las Vegas as having the right combination of motel style that we needed to stage the scenes.

Searching to find a sweet spot between surrealism and reality, we created a realistic motel, and turned every part of yellow to add a jolt of unreality, as well as giving a stylishly minimal feel to the detailed environments.

Smaller cues such as her face in the poster on the wall, or in the magazines ,add to an almost subliminal sense of displacement.

It’s also a time capsule of 80s elements. The styling of the model had already been carefully considered – her sun visor, big hair channeling Faye Dunaway, the cut of her swimsuit – so we chose props such as the vending machine to enhance the feeling of a shift in time.

Tomek already had a moodboard of references, and we expanded on this with contemporary details for all elements – whether integral parts of the set like breeze blocks or railing designs, to objects like towers of cards and an oversized phone.Items like a baseball bat or broken glass contributed to the faint sense of unease, and the feeling of depth and difference in focus enhances the dream-like feeling of the series.

Technical Process

We wanted to use a different, more stripped back workflow on this project. The images were begun in Unreal, the CGI finished in Blender, and then composited and graded in Capture One.

Everything is CGI in the images except the model and the sun lounger – and in fact we we recreated the sun lounger in CGI for a seamless match between the real and the virtual.

We began the project in Unreal, so we could adjust all the elements of the set with maximum interactivity. In Unreal, we matched the lighting and angles of the CGI environment to the original model shots, and tested colours and props at lightning speed.

Instant feedback at high fidelity allowed us to be adventurous in art direction…moving the model around the set without the need to wait for renders. It’s a great platform for experimentation and taking chances.

 

With the creative decisions made, we moved the project into Blender for the last stage.

This meant we could render the final CGI environments in a high enough quality that we could go directly to compositing and colour grading – an interesting exercise for us to see how far we could push pure CGI.

Finally, we added the model in via Capture One with minimal colour work – just minimal grading to balance her correctly into the CGI backplate.

 

We hope you enjoy the way this collaboration blurs the line between fantasy and reality…we’re proud to have made the dream real.

Soundtrack:  We recommend Bananarama and Fun Boy Three: Our Lips Are Sealed

See the entire project on www.recomfarmhouse.com or Behance

Photographer: Tomek Makolski

Concept: Tomek Makolski & Michal Sek

Model: Ola Kowal / modelplus

Photographer’s Assistant: Adam Gocel

Make-up Artist: Adrian Swiderski

Hair artist: Patryk Nadolny
Stylist: Milena Bekalarska

Studio, equipment and support: Studio Tęcza
Creative Director: Kate Brown / Recom Farmhouse
CGI Artist: Marvin Lübke / Recom Farmhouse
Post Artists: Kate Brown, Aljaz Bezjak / Recom Farmhouse

‘Sup Jorden? 

Turbo-Dial us on our Motorola Micro-Tac and let us take you back to Miami’s South Beach in the mid 1990s. Photographer Tim Adorf was inspired by the look of the local bodybuilding culture of that time, to create this wildly inventive series that combines automotive and still life CGI with fashion photography, and a dash of graphic design resulting in an atmospheric slice of 90s Miami life. You can almost smell the CK One…

 

 

Stylist Stephanie Wüstemann sourced a state of the art (in 1997) Motorola mobile phone, which Recom then modelled in CGI. Using the same angles for the car shots and the phone, the team brought the series together.

 

Adorf found his own personal Muscle Beach in a tiled carport in Barcelona, the perfect setting for the eye-popping physique of model Uri Garcia.

 

 

The freedom of CGI meant that they could choose one of the most iconic cars of that era, the Lamborghini Diablo. It was a perfect fit for this series! The CGI team made the dream real in a very 1990s shade of metallic purple. We came up with simplified and stylish angle suggestions and rough crop tests of the larger shots, slowly adding variants to the series.

 

 

Based on the original manual, Maison CC worked on the design – their laser focus on the mood of advertisement product shots of the time made the 1990s aesthetics as tight as purple spandex! Dreamboat posters and ripped out magazine advert pages add to the vintage character.

 

 

 

Finally, the post artists of Recom Berlin pumped up the grade and buffed the series to perfection.

 

 

Enjoy the ride, with a suitably rad soundtrack for your DiscMan provided here….Yellow sport earphones mandatory.
Photographer: Tim Adorf
Styling: Stephanie Wüstemann
Graphicdesign: Maison CC
Creative Direction: recom berlin
CGI: Richard Jenkinson, Dennis Brinkmann
Retouching: Matteo Cianfarani, Patryk Hadas, Jonas Braukmann

Hookie Tardigrade: Nasa Concept Motorcycle with J. Konrad Schmidt

The Tardigrade is the world’s first moon concept motorcycle.

Inspired by future and past adventures to orbit, original CGI by Andrey Fabishevsky, built by Hookie, photographed by J. Konrad  Schmidt, retouching and post-production CGI elements by Recom Stuttgart.

The Inspiration

Andrey Fabishevsky dreamed up the original idea for a creative sketch challenge with a friend on Instagram, and developed it into a CGI concept. The idea took social media by storm, with features and speculation about the possibilities.
“I’d seen some very stylised and cool concept sketches of NASA motorcycles, and I wanted to make a bike in CGI that felt like a fully functional concept, not just a cool stylised idea.”
– Andrey Fabishevsky

Bringing the dream to life

Among those who saw the idea and loved it was Nico Mueller of Hookie  –  a Dresden based design company working on custom motorbikes, components and accessories. Inspired by Andrey’s visual, they contacted him with the idea of making the bike for real. The project was named “Tardigrade” after the tough little organisms that have been known to survive even in space. Andrey made new CGI drawings, exploring the construction in more detail in preparation for the build.

“Together with Hookie, we made something really cool and fresh. I haven’t seen the motorcycle in real life yet…I hope this will happen soon!”
– Andrey Fabishevsky

The Construction

At Hookie, the process of the build began – intricate welding, careful machining and many late nights brought the Tardigrade into reality.

“A thought experiment that also raises questions about our future: What would life beyond planetary boundaries look like? What demands does outer space make on a bike that can travel in the darkness of space and largely from the shackles of gravity over icy lunar dust? And how far away are we from such scenarios?”
–  Nico Müller, Hookie

 

Read more about the construction on their dedicated site here: Hookie Tardigrade.
For even more details on the build, there’s an in-depth article in BikeExif here.
With the long and detailed build and development complete, they now needed the imagery that would convey the idea and fire the imagination.

The Shoot

The search was on for a location that could stand in for the moon, and friends of Hookie knew the perfect space – a porcelain clay mine in the Czech Republic.

The bike travelled by trailer from Dresden and was lovingly assembled ready to be captured in action for the first time. The fine pale dust of the clay worked brilliantly for both the texture for the bike’s trails, and the lighting and structure of the lunar surface.

” It was surreal. Andrew and Hookie did such an amazing job. Standing on this location with this bike felt like – What else could anyone wish for. It looked right from the first second on.”
– J. Konrad Schmidt

Post Production

Back in Stuttgart, Recom worked with Konrad to achieve an otherworldly atmosphere, referencing real life lunar photography in  the contrast and grading.  Some details were tidied up, such as removing the bike’s  stand and remaking  the wheels in CGI in order to have a realistic feeling of speed.

” To break out of every day life, it is always cool to jump into space travel, to create an outer space lunar feel for such  a beautifully designed – out  of this world! – object as the TARDIGRADE. Recom is ready for the moon.”
– Thorsten Jasper Weese, Recom Stuttgart

 

Reception

The bike has been featured widely already  with features  in Designboom, Stirworld, Uncrate,and many more.

Future trajectory

With the world premiere as a part of the ADV:Overland exhibition at Petersen Automotive Museum in Los Angeles in late 2021, Hookie wants to prove that even fantastic ideas can mature into a real, tangible object. All it takes is a vision and curiosity about the unknown.
Keep in contact with the continuing story of the Tardigrade on Hookie’s dedicated site here.

Selection of Images

A selection from the project. See the full series on recomfarmhouse.com here, on recom.de here, or on Behance here.

 

See the full series on recomfarmhouse.com here, on or on Behance here.

Credits
Client: Hookie.co
Photographer: J. Konrad Schmidt
Assistant & Location photos: Jeneba Komma
Original CGI concept: Andrey Fabishevsky
Model: Karolína Machová
Video: David Ohl

Post-Production Credits:
CGI Direction: Thorsten Jasper Weese / Recom Stuttgart
Post Production: Thomas Saalfrank / Recom Stuttgart
CGI Artist: Ronja Wafzig, Thomas Neumeier / Recom Stuttgart

 

Recom Farmhouse is on Instagram, Facebook, Vimeo and Twitter!
More work at recomfarmhouse.com and our blog madlove.net.
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The Recom Fearhouse

WELCOME BACK TO THE RECOM FEARHOUSE

October hasn’t been the same since our sinister 80s slasher film collided with a thousand-year pandemic. Sorry, multi-year pandemic. A thousand years of this might be too scary, and that’s saying something since we escaped a psychotic Axeman in a forest to a dusk-lit, desolate town, some years prior.

Although, it’s up for debate whether we escaped our most vicious foes after all. I suppose we may have “overlooked” remote work being as debilitating as it has been. With New Yorkers primarily still working from home, and the fun months of banana bread making behind us, we face the difficulty of living in The Recom Fearhouse. Conference calls disrupted by barking dogs, spilled coffee from tripping over children’s toys, ordering pizza in a trance of perpetual snacking…

…not getting enough time to play may have made us all a little “dull.”

This essence of insanity from too much vacationing at home was manifested to match that of Stanley Kubrick’s The Shining, a cult classic, and a Recom NYC favourite. An avid appreciation for the film spurred numerous easter eggs and tie-ins to the 1980 hit.

A closer look will reveal all… BUT BEWARE! What you see may frighten, perhaps even scar you!

Unable to view the Overlook Hotel in person, we recreated it in CGI from movie references. We matched the lighting, props, and composition from those of the screen grabs.

Once our foundation was set, our team of horror fans began compositing items from our home offices into the scene.

We embellished the truth a bit, making the “real” Recom Fearhouse from children’s toys, cold coffee, and stale pizza to sell that aspect of homegrown insanity. And ya know, a little whiskey for… improved focus… hehe.

Once we’d decorated the room with our aromatic décor, it was time to collect our sheets of sprawled paper with our twist on “All work and no play.”

 Of course, the typewriter alone wouldn’t be enough of a tribute to the pop-culture, trendsetter source material. Pulling out our digital pocketknives, we carved the famous “Redrum” into our tabletop, and we placed them right beside our matching twin VW’s Beetles. Our twins are still in one piece, though…

To keep the spirit of our veneer-sided Jeep Grand Wagoneer and its many frivolous adventures alive, we added it into our finely tuned monitor before calling our latest Recom Fearhouse a closed case.

Maybe next year we’ll dust our Fearhouse Mobile off and see where it takes us. Hopefully somewhere quiet…

Credits:
Creative Direction: Richard Levene, Steven Orts, Andrew Coleman, Robert Russ, Luke Burke / Recom Farmhouse NYC
CGI: Luke Burke / Recom Farmhouse NYC
Retouching & Editing: Steven Orts, Andrew Coleman, Robert Russ / Recom Farmhouse NYC
Sound Compilation: Robert Russ / Recom Farmhouse NYC

Recom Farmhouse is on Instagram, Facebook, Vimeo and Twitter!
More work at recomfarmhouse.com and our blog madlove.net.
Fresh work showcased every month in our newsletter – see examples and sign up here.
No spam, just the best new images. Unsubscribe at any time.