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.
On Location: BMW with Stefan Milev
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.
Read the fascinating story of its reconstruction here in Classic Driver.
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.
See the full series on Behance here and on our site here.
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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Making Of: “Daily Drivers” – CGI racing car collaboration with Alex Bernstein
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
Delorean with Tomek Olszowski
“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.
See the whole project on our site and 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
Inexplicably a few brave retouchers lived through the night at the Recom Fearhouse forest cabin last Halloween, and the shaken survivors climb back into the veneer-sided station wagon for the next instalment. Escaping the woods, they arrive in a lonely town at dusk…
What warped levels of darkness are layered and blended with a mask of normality? Will our artists be ready for their “Post” Mortem? Reveal All below….
Peer out from behind the sofa and press play….if you dare.
No horror movie is complete without a poster:
Retouching: Federico Chiesa
Art Direction: Federico Chiesa
Music composition for animation: Federico Chiesa
Making “Of Rainbows And Other Monuments” with Clemens Ascher
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:
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
Grow Up Campaign for Mercedes Benz with Alice Moitié – In Situ
“Grow Up” is the most extensive content creation in Mercedes-Benz’s history. Produced by Antoni, it’s a groundbreaking campaign centred around five short films. With young stars like rapper A$AP Rocky, the films tell a story that completely revolutionises the image of Mercedes-Benz, with the car becoming a natural ally for millennials in their journey to adulthood.
“Our competition isn’t ads, they’re real films, real TV shows. Stealing four minutes from the time people would be watching their favourite show on Netflix is a tall order, so we tried to be honest with ourselves with what people might actually be interested in.” – Veit Moller, Creative Director (LBB editorial interview)
For the accompanying stills, we worked closely with CD Veit Moeller and young photographer Alice Moitié – printing and re-scanning, adding grain to create a strongly analogue film look, with CGI elements helping with the practical aspects of a worldwide campaign.
The campaign’s media locations are as bold and eyecatching as the rest of the execution, with colossal end-of-wall murals featuring single shots montages from the campaign, and big bold statement cubes in high traffic areas.
The shots were also a big success across digital media, showcased on the innovative website and shared widely on social networks.
The campaign has drawn wide praise for its radical approach
“Mercedes-Benz’s Most Ambitious Marketing Project Yet Is All About What It Means to Grow Up Tackling the evolution of luxury … and, well, life” – Adweek (Ad of the Day)
“Mercedes-Benz’s Biggest Content Campaign to Date May Make You Think Really Deeply About Your Life”- Ad Age (Editor’s Pick – Creativity)
“It’s hard to make a good car ad these days. Audiences are bored of the slick fare they are usually offered, and yet most clients still really, really want that shot of the beautiful new vehicle driving around the cliff edge. In this new set of films, those scenic shots are there …nestled in among a set of stories that are intriguing, and at times a little darn bleak….These new films make a welcome addition to the car-ad-as-short-film genre and sure beat the average shiny car spot.” – Creative Review
Also featured by Hypebeast, Campaign and High Snobiety.
Client: Mercedes Benz
Creative Director: Veit Moeller
Photographer: Alice Moitié
Post Artists: Jonas Braukmann, Thomas Saalfrank, Julia Ackermann, Daniel Mattes, June Lee, Stephanie O’Connor / Recom Farmhouse
Art Buyers: Emanuel Mugrauer, Valerie Opitz, Marjorie Jorrot
Production: Iconoclast Germany
See our selection of the campaign images on recomfarmhouse.com
Tokyo Maserati Bora with Nick Meek
Our friend Nick Meek approached our London team with this evocative night shot from Tokyo.
He took it a while ago and always loved it, but kept feeling it needed something extra. He began to wonder what it would look like if the rolling gate was opened – just enough to reveal something special.
Researching vintage cars, he found an unusual and elegant 1970s supercar with a plum paint and golden trim to the scene, and asked us if we could add it to the scene.
Excited about this extraordinary request we reached into our magic bag of CGI tricks, lifted the door and settled on parking this sweet Maserati Bora inside.
After a successful collaboration process, we’re all happy with the atmospheric result.
Red Car, Red Room
We were so happy with how the Maserati turned out that we wanted to work with it some more. A CGI group challenge, themed on “Red Car, Red Room” was the perfect place to take the car out of the garage and reveal it in all its glory. Take a closer look at the exotic and gorgeous Maserati Bora in detail here.
Crop detail of the gold trim:
Chaos Group V-Ray
Credits: Tokyo Garage
Photographer: Nick Meek
CGI Artist: Kristian Turner / Recom Farmhouse
Post Artist: Maria Luisa Calosso, Kate Brown / Recom Farmhouse
Credits: Red Car Red Room
CGI Artist: Kristian Turner / Recom Farmhouse
Post Artist: Pêpe Alram / Recom Farmhouse
Mustang with Uli Heckmann
A quick peek on-set, and behind the scenes with the photographer – shooting with Uli Heckmann, for the launch of the new Mustang 2018 with GTB (formerly Team Detroit) and JB5 Productions.
The car wasn’t yet available for shooting, so we took shots of last year’s model as a stand-in to refer to, and then added this year’s car in CGI during post-production.
We always seem to be up ladders – shooting the models, and background separately. The stand-in car helps to get the lighting as realistic as possible.
The final shot with all elements combined, including CGI car swapped in.
Setting up the camera at the bridge – shooting HDR domes along the bridge with the Lizard to make a 360 light capture for the CGI car.
Final shot using the lighting captures for perfect realism on the CGI car
Stumptown brewery location. We shot all around this area, exploring different locations, areas and different talent options.
Final shot – This was put together from a number of different elements from the day’s shooting.
Making of : The dark side of Los Angeles (part II)
This is yet another image we have created in collaboration with photographer Markus Wendler for the series “The Dark Side of Los Angeles” which visually narrates ambiguous stories in downtown LA. The vintage cars appearing in each image are completely created in CG.
For this one we used a classic Chevrolet Camaro. Markus photographed the backplate, whilst we shot the models against a green screen and we then comped them into our CG car.
Below is how we assembled all together.
It is a welcome change of subject for us to work on old and used cars as we need to add lots of extra details which are at the opposite end of the perfect glossy surfaces we are used to work on. So here for example we had to add condensation on the car windows, scratches, dust, rust, worn tyres and finger prints. All details which make a car look real!
See the series on our website or on Behance.
Photographer: Markus Wendler
CGI-Director: Christoph Bolten
CGI-Artists: Kristian Turner, Richard Jenkinson, Simon Watts, Dariusz Makowski
Post-Artists: Kate Booker, Riikka Eiro, Pepe Alram