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.
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.
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.
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
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 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
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
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.
CGI Direction: Thorsten Jasper Weese / Recom Stuttgart
Post Production: Thomas Saalfrank / Recom Stuttgart
CGI Artist: Ronja Wafzig, Thomas Neumeier / Recom Stuttgart
More work at recomfarmhouse.com and our blog madlove.net.
We travelled to Capetown with Nick Meek to shoot this Nissan campaign for TBWA Paris.
“While some may think that adding technology detracts from the raw experience of driving, Nissan is proving that technology can turn your car into an exciting partner”
With the idea of humanising technology, it was appropriate that we all had the most fun with the spacesuit! Join us nn set with New Moon Productions in Capetown…
In post-production, we put together the astronaut image and ‘painted’ it in Photoshop onto the side of the wall – see how we did it :
See all the final images on our site here.
Agency: TBWA Paris
Photographer: Nick Meek
Photographer’s Agent: Prune Pariente, Florence Moll
Creative Director: Darren Rosenberg
Art Buyer: Claire Sougy-Walwer
Art Director: Joy Robin
Production: New Moon Production
Post Artist: Pepe Alram, Aljaz, Bezjak / Recom Farmhouse
Barclays wanted to mark the occasion of the 500th anniversary of Leonardo da Vinci with a modern evolution of his celebrated “Vitruvian Man“, showing how technology might enhance different parts of the human body.
We created the image in full CGI, in collaboration with photographer Andy Glass.
Appropriately for the subject matter, we started with sketches. Pen and pencil remains as perfect for quick visualisation and prototyping as it was 500 years ago. We put together sketches inspired by existing technology in biotech and visualising futuristic enhancements. Pencil drawings made it easy to react to feedback as we worked with the clients to refine the designs.
The individual parts come together to make the classic “Vitruvian Man” diagram
The CGI team then built the image from scratch, following the concepts and design from our sketches. The most challenging part of the process was keeping the classic design instantly recognisable and coherent, whilst working on the detail of each component and making the whole image both believably realistic and compellingly futuristic
Once all the pieces were fitted together in the final design, we modelled and lighted it, and applied shaders using photographic references to ensure a solid feel to the materials. A circular platform and illuminated neon square completed the iconic image.
See the whole process here:
Making of “Vitruvian Man” for Barclays Private Finance
The image was used for an exclusive wraparound for the Canary Wharf delivery of the Financial Times, and as a poster.
And video animation:
Vitruvian Man on Behance.
Client: Barclays Private Bank
Photographic & Creative Direction: Andy Glass
Creatives: Dave Anderson, Richard Barrett, Ian Brassett, James Manning, Giles Montgomery, Jon Morgan
Art Buyer: Lesley Scott
Concept Design: Kristian Turner / Recom Farmhouse
CGI Artists: Alex Bowen, Carlos Pecino, Anna Toropova, Kristian Turner / Recom Farmhouse
Post Artists: Aljaz Bezjak, Kate Brown / Recom Farmhouse
That’s how it goes when you have so many cars….over time, some go missing, and eventually one is lost completely.
This is what happened to BMW’s Garmisch concept car from 1970. The Garmisch was designed at the legendary Italian house Bertone, and exhibited at the Geneva Motor Show – its modern lines clearly influenced the design of the first 5 series in 1972.
The original concept car has disappeared, untraceable to this day. Maybe it will turn up as a barn find in fifty years.
But BMW didn’t want to wait that long, and rebuilt the car from the original design documents. The documents were all in black and white, so for colour, they had to consult the car’s original designer: Marcello Gandini, who created iconic sports cars such as the Lamborghini Miura and Countach, and the Lancia Stratos. The car was rebuilt by hand in Turin, in much the same way as the original 50 years ago, and the reborn Garmisch was exhibited at the Concorso d’Eleganza 2019 at Lake Como.
On Location (Photos: Stefan Milev)
Stefan Milev photographed the Garmisch using this 8 x 10 wooden Deardorff camera from 1948 – the team travelled to locations around Italy’s Piedmont region using mostly Polaroid film on the vintage camera.
On Location (Photos: Speedball Productions)
Vlens Mueller-Feller of Speedball Productions: “During early preparations, images of the (possible) final result will start to appear before one’s eyes, when scouting I already can see the photographer or director saying “this is it, this is the perfect spot” (@put.model.here)… So this spot in the Italian Alps was one of those.” See their Instagram feed for more…
The resulting film images were scanned and graded by our artists in the Stuttgart studio to enhance the colour mood of the series.
Client: BMW Group
Photographer: Stefan Milev
Post Artists: Julia Ackermann, Lorenz Edelmann, Thomas Saalfrank / Recom Stuttgart Creative Director: Antje List
Production: Speedball Productions and Pirate Productions
Model: Scott Temple
Photographer’s Agent: Wildfox Running
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Daily Drivers: A peep behind the scenes of a project built on absurdity.
A car is a tool. Its uses range drastically: from everyday tasks like commuting, shopping and school runs, to more exciting functions like self-expression and road trips. And then there’s racing… Race cars are a uniquely specialized end of this spectrum. Their sole purpose is to be fast and light, with creature comforts and road manners thrown out the window all in the name of victory. But at the end of the day, they’re still cars: four wheels, a seat and some pedals.
Daily Drivers Nº 1 : 1999 Toyota GT-One (TS020)
When it comes to getting around the city, most New Yorkers opt for public transportation, because having a car in Manhattan is like trying to paint a mural with a Q-tip. So here — in this alternate and absurdist reality — a few legendary race cars break the boundaries of their purpose.
Daily Drivers Nº 2 : 2003 Bentley Speed 8
In this reality, these retired steeds continue their service. They may not be flat out in Eau Rouge, or spraying gravel off the cliffs of Pikes Peak, but they’re still living, still used, and still loved.
Daily Drivers Nº 3 : 1967 Ferrari 330 P4
Steven Orts of Recom Farmhouse’s New York studio outlined the rough project idea to photographer and amateur racer, Alex Bernstein, who traveled back to his old stomping grounds in New York to brainstorm with the team, scout and shoot in some iconic locations, working his magic to bring this project to life. With his love for motorsports, Alex nailed the angles to capture the city scenes with their obstructions and ambiance, all while still feeling handheld and natural, as if you were walking through the city streets and had just spotted these ridiculously out-of-place machines.
Daily Drivers Nº 4 : 1990 Jaguar XJR-12
All the cars are full CGI. Each model required heavy amounts of refinement, while we retextured and prepped in the studio. With great care and patience, the finer details were added. Dust and grit, scuffs and scrapes, raindrops and reflections all work together to fully immerse these cars into their respective worlds. We captured domes from each location which enabled proper reflections to be brought back into post production. Finally, meticulous colour grading enhanced the light and shade of New York City and integrated the composited images.
Daily Drivers Nº 5 : 1986 Audi Sport Quattro S1 E2
See the full series on Behance.
Creative Direction: Steven Orts / Recom Farmhouse NYC
Photographer: Alex Bernstein
CGI: Luke Burke & Alex Bowen / Recom Farmhouse NYC
Retouching: Steven Orts & Andrew Coleman / Recom Farmhouse NYC
Bold primary colours meet strong abstract shapes in this campaign for Mercedes from Antoni. We travelled with photographer Nick Meek to Calvert Studios, an extraordinary and unique open air car studio in Spain. Enjoy these pictures from behind the scenes:
The dream team – Jorge, Nick, Christoph and Paul.
The final images are used in the deluxe print campaign, and billboards in place in Germany. See them in situ here.
See all the finished images on Behance here and try to work out which ones are CGI…
Executive Creative Director: Veit Moeller
Creative Director: Christian Kies, Christopher Hoene
Art Director: Mathias Wilke, Tim Grötzinger
Copywriter: Matti Lietsch, Luca Haeussler
Head of Product Communication Cars Germany: Christine Wolburg
Product Communication Cars Germany: Nancy Weitling
Art Buyer: Valerie Opitz
“The ethereal elements of light, colour and haze transmit feelings and emotions. This has been a great project to experiment with the translation of these emotions from the normally more sterile environment of CGI” – Alessandra Kila
The artist brings her unique creative vision to the new BMW 7 series, in a campaign driven by light. Inspired by exhibition spaces where light interacts with installations to become part of the work, she intersected the sculptural forms of the car with the angular shapes of sharply cut sunbeams, laser curtains and light screens – innovative imagery to reveal the lines of a visionary vehicle.
Originally developed from a creative partnership with the BMW design department, Recom Farmhouse London collaborated intensively with the artist to realise her vision in pure CGI.
Simulating light in volumetric space is challenging enough, and quick previewing of iterations fast enough as to not inhibit the creative process raises further issues. In order to deliver such ambitious images, we developed an intricate technical framework within the CGI software. This custom lighting rig can abstract the visual effect of using a fully physical lighting simulation, but render in a fraction of the time, allowing creative freedom and experimentation. For the final rendering we used the fully physical lighting model for accuracy and photorealism. Take a look behind the scenes here:
The team called on Alessandra’s strong experience with still life art photography to set up varied and subtle lighting for depth and believability in the car and environment. A myriad of tiny details, such as effects of bleeding and darkening, give a natural look, along with elements of photographed neon tubes and illuminated screens. Further lighting directed the balance of warmth and cold in the images.
To create the required atmosphere, she drew on her ongoing exploration of the use of haze to soften light. Here, the haziness carries the light and colour that are central to the project.
We introduced dust to give a liquid silkiness to the light. Algorithms that mimic the movement of particles create a heightened atmosphere of dusty air moving in warm light.
Colour was a vital part of this project so the post artists hand tinted the lightwaves being carried through the haze in tonalities of greens, aqua and gold. By literally mixing the colours directly with their virtual paint brushes, they painted the light with the colours of the campaign.
As the car slices through angled laser beams and sheets of pouring light, there’s a tactile and almost synaesthetic quality to the images. The interior shots in particular are hugely innovative: re-imagined as a magical space where anything could happen, and brought to life with light beaming in.
Creative Supervision BMW: Florian Hartmann
Creative Direction BMW Group Design: Julia Obermeyer
Concept & Art Direction: Alessandra Kila
CGI Artists: Kristian Turner, Carlos Pecino, Anna Toropova / Recom Farmhouse
Post Artists: Pepê Alram, Kate Brown, Riikka Eiro, Maria Luisa Calosso / Recom Farmhouse
This cinematic series gives a new slant to the dramatic play of sunlight in a big city, with strong transitions to long edgy shadows.
Against a backdrop of heritage architecture in Warsaw, the sleek modern neutrals of the car set the scene for its driver – a bold and stylish redheaded individualist.
Recom Farmhouse London collaborated with the photographer to intensify the film noir ambiance. A strong duotone palette led by the rich orange and deep greens of the model infuses with subtler tones into the car and background.
On location in Warsaw, Tomek scouted for locations with interesting light and shadow, no matter how awkward!
Observing the position of the sun, he planned the shoot over time, looking for places where dynamic lines throw the shapes into sharp relief.
For the car, a neutral coloured Volvo was a perfect choice, fitting the overall vision of elegant and modern style with the feeling of heritage in the background.
Amongst the redheaded models cast, Natalia instantly stood out for this shoot, with her striking colouring, purposeful attitude and insouciant style.
Her pierced nose adds a hint of rebelliousness, and Dorota styled her with a gorgeous series of ensembles in green to lay the natural foundations for the palette, to be developed later in post-production.
In discussions with the team in Recom Farmhouse’s London studio, the decision was to evolve these original colours with cooler notes in the darker tones and a strong overall combination of rich warm oranges and deep cool greens.
Post-production also emphasised the strong transitions between shadows and light.
“Being such a noir narrative, we thought that being kinda duotone could be quite fitting. Also, when properly worked on, I think the carpaint could really “sing” with some cyan/green”. – Pepê / Recom Farmhouse London
Enjoy the strong shapes and subtle tone combinations of this series here:
Photography: Tomek Olszowski
Production: Piotr Stefański
Model: Natalia Michalewska
Stylist: Dorota Magdziarz
Make up & Hair: Magda Gontarczuk
Assist: Dominik Nowak, Adam Gocel, Tomasz Kret
Post Artist: Pepê Alram
“I’ve always wanted to shoot this car. I love its iconic style and I wanted to shoot it outdoors with a natural look, but a dusky and mysterious sci-fi atmosphere. We wanted to shoot as much as possible during the ‘blue hour’ just after the sun goes down, to enhance the otherworldly feel of the series. I started with finding a guy who owns probably the only Delorean in good condition in Poland. We cast for a model and found Monika with her strong look and short crop. Stylist Dorota added a few bold styling accents that would fit in with the eighties ambience without appearing too clichéd. The location needed to be abstract, monochromatic and above all dry, so that we could generate natural dust – a gravel pit proved to be the perfect choice. Technically the dust had its own issues to deal with! It’s very difficult to control, with the wind changing directions every minute.
It also meant that we had very limited opportunities to shoot the Delorean with its iconic gullwing doors open, as we couldn’t risk damage to the car. With the shoot complete, the task of removing every speck of dust for the car was enormous!”
In post-production, Recom Farmhouse developed a faded look with an overall combination of magenta/violet, and yellow/orange hues — again, echoing an eighties palette of early digital and laser colours .
See the finished series on Behance.
Photography: Tomek Olszowski
Production: Piotr Stefański / Studio Tecza
Model: Monika Rybicka
Stylist: Dorota Magdziarz / @dorota.magdziarz
Make up: Ewelina Mróz
Car: Michał Kraul
Assistants: Dominik Nowak, Adam Gocel, Tomasz Kret, Filip Wyszyński, Maciek Czerniecki
Post Artists: Nuria Segura, Aljaz Bezjak / Recom Farmhouse London