Like so many complex productions, this was a simple idea – to make a short film as a showcase. To push some boundaries and possibilities in our work. And also to have some fun at the same time!
Of course we wanted to work with a car….but in a modern visual language evolving around the dynamism developing in electric cars. Images of power and light, of a clean and positive future, more attuned to the environment without losing any of its visceral impact as an object of desire.
What contemporary pioneers would inspire us, visually and conceptually?
A character to be the centre of gravity for our story.
We settled on a man with a dream to be the first Black man on the Moon.
Setting and mood building
When creating the world for this character to live in the process (as always) started long before any CGI – with pen and paper, talking and thinking. Using these analogue methods allows for swift changes and flexible, imaginative thinking, to expand the possibilities, making it so much easier to say “What if…”
We built the world up through questions, rather than software.
Where would this person live?
What kind of house?
What’s in it?
What do these things tell us?
What’s the landscape and plants like that surround it?
Such level of detail isn’t usual in advertising so it was an interesting exercise, which has parallels in the process of CGI. Just as we built a ‘real’ framework for CGI structures, lighting and cameras, we referenced reality to construct the character and story, to make both feel more tangible. Every viewer doesn’t see every detail, but the liminal storytelling of these elements brings vivid personality to the atmosphere.
To develop the luminous and dynamic look, we wanted glowing light and rich, soft-textured shadows, imagery of space and earth, sliding and gliding lights both natural and artificial.
We collected ideas and inspiration from a huge variety of influences – from film, to photography of architecture, light and atmospheric affects, to artists working with light like Yayoi Kusama and Olafur Eliasson.
With these assembled, we began the process of story development. Thinking, reviewing, collaborating, thinking again – working to define and refine the story and the shots that we needed to tell it. As the story began to coalesce around these storyboards and with each development, we felt it was getting closer to the vision we had.
Eventually we had a full set of storyboards, making the flow of shots complete and suggesting in itself further improvements.
With choices made on the shots we would need, we had the maximum amount of time for creating detailed work on each one in Maya.
For each shot, we also honed the camera moves. Of course in CGI there are no restrictions… but it’s integral to the work to consider how a real camera would move. So we gave a lot of thought to how this would actually be filmed, reproducing the constraints of a physical camera with car to car filming, rig shots or drone shots. Impossible camera moves are a clear cue of artificiality, so lead CG artist Tanguy Koutouan had to balance boldness against the potential of unreality. Each move was refined until it was smooth and harmonious with the other elements such as the car’s suspension movements, or camera drifts for organic animations.
We discussed our ideas for the project with the team at Audi, who we often work with. Audi very kindly gave us the concept model of their new Audi e-tron GT – the perfect car for the character we had created.
With an initial sequence in place, we cast for a model to represent our hero. Director of Photography for this was Jorge Diéguez, who assembled a fantastic crew, selected equipment and took care of the lighting, matching it meticulously to the sequences already visualised. Set designer Jason Synnott rigged up the car seat with steering wheel construction, and we shot the green screen sequences at our neighbours: Hackney Studios, with on-set VFX supervision and general advice from Gareth Repton.
Compositing, editing, sound and polish
The music by Olafur Arnalds was the key to bringing everything together – we altered shots and especially camera moves to match the rhythm of the piece, and make everything fit together flawlessly.
The scenes were rendered in VRay, and then taken into Nuke for compositing led by Felix Baesch. In this phase, enormous amounts of infinitesimal adjustments finessed the result for maximum photorealism. We added matte painting for the mountains, created the moon, removed occasional CGI artefacts and added the green screen footage of the model.
This polished footage was then brought into Resolve for Tanguy to continue the process of editing, and Dan Carney to bring his detailed eye for nuanced colour to the grading.
With editing and colour grading in place, the film went to Gavin Little at Echolab for sound editing. Although the music carries the whole piece, sound makes it subtly immersive – small details that bring atmosphere but never overpower the music. At the same time, we designed the title sequence and the end credits.
These initial phases were completed in a more conventionally collaborative form, all working together. The later phases were during lockdown, so we worked and collaborated remotely, as we’re very used to doing with our internationally based team. This was a long journey for us all, and we’re very proud to present the completed film.
Low Earth Orbit
Put your headphones on and go full screen to join Recom Farmhouse on a lucid vision of a night drive, with repeating visual themes of orbital geometries and light – from softly radiant moonlight to coruscating fireflies, from sliding reflections on wind-honed bodywork to glowing incandescence of stars.
The voyage you dream of is closer than you think…
A Recom Farmhouse Production
Written and directed by Tanguy Koutouan
Co-Director: Christoph Bolten
Executive Producer: Christoph Bolten
Sound Design Gavin Little | Echolab
Music by Ólafur Arnalds
Colour Grading : Dan Carney
Lead CG Artist: Tanguy Koutouan
CG Artists: Carlos Pecino, Anna Toropova, Luca Veronese, Joe Carney
Lead Compositor: Felix Baesch
Additional Compositor: Stéphane Lugiery
Title Design: Martha Tullberg
Title Animation: Aljaž Bezjak
Original Screenplay: Santi Minasi
Storyboard: Tanguy Koutouan
Editor: Tanguy Koutouan
Green Screen Shoot at Hackney Studios
Directed by Christoph Bolten
Art Director Tanguy Koutouan
Director of Photography: Jorge Diéguez
Gaffer: David Nye
1st AC: Julian Lalinde
Production: Martha Tsvyatkov
Set Design: Jason Synnott
Model Damien Le-Hoste | Base Models
On-Set VFX Supervisor: Gareth Repton
Styling: @vakundok & Alessandra Kila
Special Thanks to: Geoffroy Givry, Cameron Smither, Alessandra Kila, Martha Tsvyatkov, Sven Hasenjäger at 380 Grad, Sarah Giles at Universal Music, Felix Kalf-Hansen at Kobalt Music.