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

 

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Mercedes with Tomek Olszowski and Bartek Hlawka – Behind the Scenes

Client: Mercedes Benz Photographer: Tomek Olszowski Post Artists: Aljaž Bezjak  , Maria Luisa Calosso, Ulf Cantignon

We loved working with Tomek Olszowski and Bartek Hlawka on this project in set in Croatia, for Mercedes-Benz’s #MBvideocar campaign – the raw power of the car as it roars through the otherworldly setting of a remote island makes for a dynamite short film.Thanks to Tomek for this detailed look behind the scenes of an extraordinary piece of work!

“The idea.
The idea was simple – to create the feel of another world. No trees, no natural green landscapes…we wanted volcanic black sand or rocks, some raw, unearthly and hostile place to be a setting for an insanely extravagant car.

We found the perfect location in a high mountain pass between France and Italy, and sent our concepts to Mercedes, who loved the idea and gave us the green light to use one of their their monster-engined new models – the AMG GT S

However, by this time, our Alpine location was under several unexpected metres of snow….We needed plan B! So we fired up Google Earth and began to explore…

That’s how we found Pag and Rab – two islands in Croatia with spectacular roads to their ferry harbours. They made the perfect choice for our vision: the harbour has lots of free asphalt space, there’s sea water to keep the ground wet, and the traffic is limited because of the ferry schedule.

Travelling.
So I jumped on a plane from Cracow to Stuttgart, picked up the Mercedes AMG GT S model and drove it to Croatia. By the way, the car is awesome – not only a great powerful toy to play with, but also enough comfortable to travel. Very nice experience.

As the November weather was very unpredictable we were worried if we would get any sun in Croatia. The forecast looked strange – on Pag we had a window with great weather – sunny and  18°, but 20 km away on continental Croatia it was snowing and 5°C .

And actually, that was it exactly how it was! I was driving on a Croatian highway at 3 C degrees, in heavy snow, feeling pretty depressed. And right after emerging from the 6 km long Sveti Rok tunnel…the winter was gone. I had full sun and temperature jumped from 3°C to 16°C! How is that even possible? The answer is simple: very strong wind blowing from the sea – and that wind was to cause us problems.

Stills shoot.

Studio Tecza Production drove from Warsaw to Pag Island in our tech car with all the necessary equipment including cameras, tripods, rigs, lights and grip.

We had a Nikon D800 camera to shoot handheld surrounding shots, plus a PhaseOne XF 100mpx tethered to a computer station. We wanted to shot many rigshots, as I just received my custom built carbon fibre 8m long pole back in Poland. The first day, we were tech scouting the harbour on Pag, preparing the car and planning our schedule according to the sun position.

Next morning in the harbour, we started the shoot early, pumping sea water to make the ground wet. The light was so beautiful that when I saw first shots in CaptureOne I just instantly felt in love. I had wanted to keep a natural feel, and there was literally nothing I could improve. We had lights, flags and other equipment but none of it was needed in these conditions.

We had planned to set up some rigshots on the road as the sun rose higher. Unfortunately, the  aforementioned strong wind complicated things. We managed to get only one proper rigshot as the wind was so variable, and when it was blowing we had to wait.

Stills Shoot 2 

Next day, we started by shooting the rocky parts.

We had scouted some nice spots where the car would look unexpected and strange, but were still accessible. The wind was so strong we couldn’t even hold the lighting flags, but I was OK with that – the surroundings were beautiful and the natural shots looked still amazing.

We did some panning, and wide landscape shots with the car small in frame as well.Fortunately the wind started to weaken in the afternoon, so we had some time to mount the rig and take another shot. The raw material felt really great. I was proud of my rig gear, it was the first serious test for this equipment. I loved the images produced by the new PhaseOne model, and I wanted the colour to be still more unorthodox and unique. I knew the only guys that would understand were Recom Farmhouse!

 

Video shoot.
Director of Photography Bartek Hlawka and his team had arrived on the first day of shooting stills in their oldie but goodie, Subaru Impreza GT 🙂 This car had a real mission, not only to bring the guys and equipment from Warsaw, but also to take a part of the shoot as a pursuit vehicle.  We collaborated closely, discussing everything before each lap up and down the hill.

Photo production showed that the road was almost like a movie set from a zombie apocalypse movie. We saw maybe 3 cars every two hours and it became clear that it would be a lot of fun having a road for ourselves.

We started recce from a drone to get to know all the bends and their surroundings. The weather was windy, so it wasn’t an easy task. After doing almost 100km over a 5km section of the road, we knew every centimeter of it.

Finally we chose the harbour as our starting point for all the shots and also as a location for the final shot.

Our trusted Subaru was very brave on the preproduction day, but the real stuff was to come.

We planned two shooting days for images, and one for audio recording. Next day we arrived at the first location at 5 am and the view was breathtaking. We already knew that we have something special in our hands. After only a few kilometres it became clear that if we wanted to show speed on the screen the only was it to drive… fast.

We drove 700km in total on the spectacular 5km course during  two days of pure pleasure!  Combined with hard work and a lot of a high-speed driving, it was a filmmaker’s dream come true. The weather was capricious but it gave us an opportunity to shoot in different conditions.

Most of the shots were made on a gimbal attached to a Ditogear Vibrafreek stabilizing arm. We chose a Sony camera to have low light capabilities and combined it with vintage Japanese lenses from the 70s. It gave us a nice analogue feel with a lot of information in the image to do the grading.

After intense two days, we were ready for audio recording. Sound design was always meant to be a huge part of the finished video. We mounted microphones on the exhaust and in the interior, and recorded flybys to have as many options as possible.

With the shooting complete, we moved onto the editing, sound design and colour grading.

Bartek Hlawka edited a first cut and composer Michal “Lieke” wrote a powerful and atmospheric piece of music for it,  which inspired the further editing that would tell the story in an interesting way.

 

 

Starting with abstract shots of an almost unrecognizable silhouette of the car before dawn, and gradually transitioning to a bright day, we combined all the shots from different weather conditions into a coherent sequence.  Then the plan was to overwhelm the viewer with dynamic and dense editing of images and sounds to the point where we felt we had to stop and breathe a little bit…and finally reveal the car and all its magnificently curvilinear design for a few final seconds on the screen.

Lieke completed the atmospheric music and sound design, with the sound of the engine as an integral part of the story. 

The colour grading by Christoph at Recom Farmhouse was the final touch, enhancing the feeling of being out of this world and bringing the shots together as a coherent whole. The challenge was to harmonise footage shot in with different lenses, lighting situations, and wildly varying weather conditions. Fine-tuned and polished with painstaking care, the united piece flows flawlessly as a story of a perfect day’s driving from dawn till dusk.”

 

Client: Mercedes Benz Photographer: Tomek Olszowski Post Artists: Aljaž Bezjak  , Maria Luisa Calosso, Ulf Cantignon

See the full series on our site here.

 

Client: Mercedes Benz

Stills:
Photographer: Tomek Olszowski
Production: Piotr Stefanski – Studio Tecza
Post Artist: Aljaž Bezjak, Maria Luisa Calosso, Ulf Cantignon / Recom Farmhouse
Assistant: Adam Gocel

Film:
Direction: Tomek Olszowski
Director of Photography: Bartek Hlawka
Colour Grading: Christoph Bolten / Recom Farmhouse
Music: Michal Przybylski “Lieke”
Chase Car: Karol Szymanski
Production: Piotr Stefanski – Studio Tecza
Assistants: Adam Bonarski, Adam Gocel

 

 

On Location: Bentley with Graham Thorp

Bentley Continental GT

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…”

In the rain

Creative Director Iain Ross searches for a break in the clouds:

Recom Farmhouse on location with Bentley

…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…

Recom Farmhouse on location with Bentley
Recom Farmhouse on location with Bentley

Setting up in the early morning – classic Tuscany landscapes:

Recom Farmhouse on location with Bentley

Burning the midnight oil by the pool:

Recom Farmhouse on location with Bentley

 

Some of the final results in print, in Harper’s Bazaar:

See the campaign on our site here

Credits:

Client: Bentley
Agency: Keko London
Photographer: Graham Thorp
Creative Director: Iain Ross
Production: Martin Bennett, “a href=”http://www.mustard-berlin.com/” target=”_blank” rel=”noopener”>Mustard Berlin
Producer: Maja McIntosh
Post-Production: Recom Farmhouse

On Location – Ford Ranger CGI with John Roe

Client: Ford Agency: GTB Photographer: John Roe Creative Director: Todd Ruthven Art Director: David Nonthaweth Art Production: Kim Harris, Gerri Kozikowski Production: Roe Photo CGI Artist: Recom Farmhouse Team Post Artists: Recom Farmhouse Team

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.

 

 

Final Image

Client: Ford Agency: GTB Photographer: John Roe Creative Director: Todd Ruthven Art Director: David Nonthaweth Art Production: Kim Harris, Gerri Kozikowski Production: Roe Photo CGI Artist: Recom Farmhouse Team Post Artists: Recom Farmhouse Team

 

 

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.

Final Image:

Client: Ford Agency: GTB Photographer: John Roe Creative Director: Todd Ruthven Art Director: David Nonthaweth Art Production: Kim Harris, Gerri Kozikowski Production: Roe Photo CGI Artist: Recom Farmhouse Team Post Artists: Recom Farmhouse Team

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

See the whole series of fifteen images on our site here.

Credits:

Client: Ford
Agency: GTB
Creative Director: Todd Ruthven
Digital Art Director: David Nonthaweth
Art Producer: Gerry Kozikowski, Kim Harris
Photographer: John Roe
CGI & Retouching: Recom Farmhouse NY & London Team
Production: Roe Photo

Making “Of Rainbows And Other Monuments” with Clemens Ascher

Photographer: Clemens Ascher CGI Artists: Kristian Turner, Anna Toropova Post Artists: Pepe Alram, Aljaz Bezjak Stylist: Alice Whiting Make-up: Amy Conley Hair: Brooke Neilson

Clemens Ascher dreamt up “this surrealistic and graphic world featuring mysterious monuments, the legendary Ferrari Rainbow and its furious drivers” – a minimalistic and metaphysical series in three subtly muted primary colours.

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.

Photos by Rainer Schlegelmilch and story on this largely forgotten legend here:
https://www.classicdriver.com/en/article/cars/classic-concepts-1976-ferrari-rainbow

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:

View the rest of the series here

Photographer: Clemens Ascher
Stylist: Alice Whiting
Model: Jacopo Ugolini
Make-up Artist: Amy Conley
Hair Stylist: Brooke Neilson and Craig McAtear

CGI Artists: Kristian Turner, Anna Toporova / Recom Farmhouse
Retouching: Aljaz Bezyak, Pêpe Alram / Recom Farmhouse

Stuff we Love – unconventional landscapes.

Here are three photographers whose landscape work we’ve enjoyed recently for its originality and unusual approach…

Arito Nishiki

Arito Nishiki

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.


Martin Venezky and Barbara Levine: Horizon

Martin Venezky and Barbara Levine
Martin Venezky and Barbara Levine

A beautifully balanced collage concept, perfectly executed to give a time-spanning cinematic appeal, both with their stuttering zoetrope construction and flashes of vintage film colour. More of these atmospheric visual vignettes here, and a fascinating insight into their creation.


Toshio Shibata

Toshio Shibata
Toshio Shibata

A considered approach that produces quietly and beautifully detailed images of landscape – especially water – and the infrastructure that contains and guides it.

“Infrastructure….can be found anywhere and addressed at any time – a silent object that allows for one-sided interpretation”.

Take in his pictures of unstoppable forces and immovable objects here and look over his gorgeous catalogue of published work here.

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.

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:

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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
[vimeo 208800098 w=640 h=360]

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.

supernatural_synchrodogs3_850_850
meet-naturist-ukrainian-photographers-synchrodogs-body-image-1434732294
supernatural_synchrodogs1_850_678
supernatural_synchrodogs5_850_678
supernatural_synchrodogs6_850_850
supernatural6_800_800
supernatural8_800_800
60440015

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

Read more

Making of : THE DURRELLS for ITV

16-042_MAPI_MeetFamily_96_COMP06_AB

This is our first project 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

And this is the mouse shot for the ad…so cute, we couldn’t resist from showing how posey he was!

Mouse_2

 

Below are the family portraits . . . with photobombing animals!

 

 

CREDITS

Client: ITV
Creative Director: Anton Ezer
Photographer: Jean-Yves Lemoigne
Production: Making Pictures
Post Artist: Kate Brown / Recom Farmhouse