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MillimeterHot Spots
Sep 1, 2003 12:00 PM, by Trevor Boyer
Panasonic “Bend Me Shape Me”
The actors' faces change, but the Panasonic electric razor never veers from its singular stubble-eating course. From three hours of footage, director Arman Matin chose one actor's shave session as a “master motion” and time-warped, positioned, and scaled the footage of the other five men to match, finally picking what worked. That meant Rhinofx had to do a lot of creative editing (about 300 cuts in the :30) in Inferno. Agency: Kaplan Thaler Group, New York; Production/Visual Effects: Rhinofx, New York; Director: Arman Matin; Live Action Producer: Terrie McGinnis; Postproduction Manager: Linda Gallagher; Lead Inferno Artist: Ronen Sharabani; Lead CG Artist: Natasha Saenko; Digital Artists: Josh Frankel, Jeff Guerrero.
Bright House “Launch”
Bright House, new cable provider in Central Florida, delivers services like digital television, VOD, and high-speed Internet to several appliances in this bright CG house — an ultramodern space created in Maya. To match the 3D model, actors were shot greenscreen with motion-control cameras on Arf + Co's stage in Hoboken, N.J. Agency: Fry Hammond Barr, Orlando; Production/Editorial/Visual Effects: Click 3x, New York; Director: Iain Greenway; DP: Andrew Turman; VFX Supervisor: Peter Corbett; Executive Producers: Jason Mayo, Abbe Daniel; Editor: Lars Fuchs; Creative Director/Designer: Christine Lin Barraud; 3D Animators: Anthony Filipakis, Dan Barlow; Flame Artists: Tony Robbins and Mark Szumski.
Buick Open “Body Paint”
The genteel golf crowds at the Buick Open tend not to wear body paint, and there's no CG paint in this spot, either — just artful camera work. From a flowery vantage point in the rough, the spot at first resembles a nature doc. But a quick rack focus through the trees finds a golf ball sitting on a green. Millennium used Fuji Velvia reversal stock for its crispness and sensitivity to blues and greens. Agency: McCann Erickson, Detroit; Production: Millennium Pictures, Southfield, Mich.; Director: Jb Carlin; DP: Jeff Dougherty; Editorial/Post/Audio Post: GTN, Oak Park, Mich.; Editor: Chris Chynoweth; Colorist: Tom Martin; Online Editor: Bill Lawrence.
Gatorade “Uphill Struggle”
As usual, Gatorade sweats through athletes in neon colors, but the coolest effects here are practical representations of dehydration. A runner fitted with a huge ball and chain struggles mightily, spraying CG sparks, though her burden is actually papier-mâché. Composited into a normal pool from a practical vat, a brave actor swims in a lane filled with a sludgy mixture of oatmeal, sugar, and water. Agency: Element 79, Chicago; Executive Producer: Scott Weitz, Driver, New York; Production/Visual Effects: Conspiração Films, Brazil; Director: Andrucha Waddington; DP: Ricardo DeLa Rosa; VFX Supervisor: Fabio Soares; Editorial: Red Car, New York; Editor: James Lipetzky; Animation: The Mill, London.
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