Tag Archives: Landscape

Infiniti with Nick Meek – Behind the Scenes

Having recently established a new look for Infiniti, Nick Meek was asked once again by CP+B to apply his distinctive high key style to five more models of their fleet.

Infiniti QX70

We were delighted to work once again on the post-production throughout the shoot, both on location and in the studio. See the full series on our site here.

This was a shoot of epic proportions!

  • 3 months
  • 3 productions
  • 27 major exterior shots
  • 50 detail shots
  • 6 different models
  • Crew of 18

The Southern California locations included urban LA environments, desert highways, bridges, as well as an airport and a racetrack. With one of our retouchers constantly on set, we were able to jump start the post production. First pass amends could be in place before sending files to the agency, with feedback from Nick and the clients on set already incorporated.

The production convoy sets off to the desert:

The car travels in the finest style of course.

 

Gear and preparation:

Nick’s camera mounted to the end of the rig and ready to shoot.

So many measures to work against the fierce desert sun! This flexible arm keeps the camera in shade and and can also be used to block flare.

It’s a long walk back once the rig is set up – this is at its maximum extension.

The captures go directly to Kate’s workstation. We use walkie-talkies to keep in touch, so post-production can begin smoothly and directly from the image capture.

This exterior station is a convenient direct point for the client signing off elements such as the angle of the car. Left to right: CD Doug Kohnen of CP+B, Kara Hughes of Infiniti, Nick Meek.

Nick inspects some images in the workstation.

At other locations, a smaller portable sun shelter is useful.

Nick goes handheld and low angle for detail shots.

Setting up the ‘Lizard‘ to capture HDR spheres for reference, so we have a full record of the background in case of any later alterations – this means that if we need to change any details we have an accurate record for reflections and lighting on the car.

Capturing some city skyscrapers with the Lizard for use as backup for the city location, in case they were needed.


Life on the set

Tunnel vision can set in on these long shoots…

But the epic skies and open desert are stunning.

Hats are a necessity when working long hours in the blasting desert sunshine.

 

Clouds drift by as we wait for the perfect light

Even in the desert, the production team have to be vigilant – when the weather comes in, it happens fast! Approaching storms mean everything has to go under cover at very short notice.

 

Here it comes!

However the show must go on – no storm can stop Nick from continuing to work! Even in these conditions, he was able to capture great results. These were the shooting conditions:

…and this is the final result!

The precipitation did have some unexpected and spectacular side effects…

In between all the hard work during these long days on the road there were always moments of fun, where we got to play with an array of toys the crew had brought along (e-skateboards, mini motorcycle, remote controlled cars etc), and as we were being baked by the hot desert sun, we got to listen to some fine tunes by the motorhome band, while being spoiled by some amazing catered foods – Many thanks to Will Taylor of Ink and Oranges for their work on production!

Recom kept standards high with Kate coming first in her Go-Kart team.

The rig came in handy as a gigantic “selfie stick” to capture the crew, though no cable release was long enough to operate the camera!

Left to right:

Not shown:

All in all a very productive and delightful job. It was great to work once again with Nick Meek, the production was a big success and the same team is currently in the US working on the next Infiniti project.

Infiniti QX70

See the full series on our site here.

Stuff we like: Synchrodogs

Ukranian duo Tania Shcheglova & Roman Noven work under the name Synchrodogs.

Using strictly film cameras “with different levels of crappyness” they create dreamlike and hauntingly beautiful visions with almost no retouching. Central to the work is their own nude bodies in expansive landscapes, with a constant stream of details, abstracts, patterns (and just whatever catches their eye) as accompanying wildcards.

Although they’re determinedly lo-fi artists, working with props, body paint and whatever chance provides, they’re already looking at a future direction in VR art. It will be fascinating to see what their agnostic creative force might bring to a new medium.

The Dallas Contemporary Art Gallery recently exhibited their latest project, Supernatural, inspired by “their own meditation technique”. With help from print sales and uncompromising fashion and editorial work, they took a 4000 mile road trip in the American Southwest –  from Big Bend to White Sands, from Vermilion Cliffs to Antelope Canyon.

As they say themselves: “Describing pictures makes it less interesting for the viewer to see them” so here’s a selection.

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All images © Synchrodogs 2012-2015

More at:

http://www.synchrodogs.com/

https://twitter.com/synchrodogs

https://www.instagram.com/synchrodogs_official/

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 : THE DURRELLS for ITV

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This is the first project we have been doing for New York based French photographer Jean-Yves Lemoigne and we’re pretty stoked about it because we’ve been wanting to work with him for a while – check out his work!

For this advertising campaign featuring the new ITV show The Durrells he first traveled to Corfu to capture the landscape and then to London to shoot the actors and animals in the studio. Our part was to combine all the different elements to make them look like they were shot all together. Jean-Yves and creative director Anton Ezer came to our London studio to brief post artist Kate Brown on the mood and the different selects for the actors and animals.

Have a look at the making-of below to see how Kate has worked her magic to bring together these wonderful images. A task made a lot easier by Jean-Yves who shot the separate elements very skilfully, making sure that lighting and perspectives matched perfectly.

MakingOf_The_Durrells

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Making of : FULL CGI LANDSCAPE for AUDI QUATTRO

This is the biggest out of home 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.

Audi_RFH-6Audi 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.

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News: Ralph Mecke for Best Fashion

Fashion photographer Ralph Mecke has shot this beautiful editorial for Best Fashion magazine.
Ralph’s images are shot on large format negative. You can just feel the film quality of these images; the grain, the tones, the depth of field is just incredible! We scanned the images in our studio in Stuttgart and fine tuned the colours.

Well done Ralph, keep up the good work!

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BF_0215_Mountain Prophet 1.korr.indd

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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.

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