We have already posted the making of the Ford Explorer advertising print campaign in January. This time we would like to show you how we made the amazing 360 degree views of the car that our team in New York and Berlin have produced nearly entirely in CG. Yes, both the car and the pebble floor! The sky and surrounding nature were shot by photographer David Westphal.
One challenge faced by our team was the technical restriction given by the Ford web team. The animation could only be a max of 72 frames (and the current Ford website will only show 36 of them). This also explains why the final videos are not a very smooth animation. Continue reading
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.
This is one of many images of the Ford Mustang we have produced, rendered and retouched in our New York and London studios, photography by Uli Heckmann (you can find more images here).
We get asked a lot about our workflow and how we work together with our clients to make sure they get the results they want. We work very closely with photographers, making sure they are happy with the image before any presentations. Every client is different of course and there is no one-size-fits-all solution, so having our artists understand what the client wants before starting is fundamental. For this we try to involve them as much as possible in the direct communication with the client from the beginning, especially on projects where a creative dialogue is essential. Continue reading
Shot by the Wade Brothers this funny advertising campaign for the Ford Ka shows a woman who paints everything around her in pink, the colour of her new car.
The photographic duo contacted us because they needed a solution on how to change the colour of the house as they could neither paint it, nor shift the colours in post. In fact by doing this at the retouching stage the final result would have looked fake as all the diffused material on top of the brick work would have remained in place. As a solution we proposed to do a 3D-scan of the entire building to enable us to replace the painted parts of the house with a 3d model, and therefore adding the needed realism.
As it’s often impossible to show the amount of work and detailing that goes into an image, by posting the result on our website, I am starting a new section in the blog called 100%. Here we would like to post all those images which can be best appreciated in all their details when enlarged. I thought to post some close-ups of the Ford Mondeo campaign which we realised together with Damien de Blinkk for Ogilvy. This was a couple of years ago, but I am still very fond of looking at some of the qualities that only start to show when zooming in all the way. Continue reading