Here's are second iteration to the work we were privileged to do through MeringCarson for Stones Gambling Hall. It was another challenging undertaking that involved live action production, 3D development, as well as 2D integration. Nothing the team hasn't handled before.
It was an intensive process to formulate a strategy that we could us to bring together in a seamless way on location footage, talent on green screen, built-to-scale 3D elements, and 2D layers with transitions. It involved two days of filming at different locations and hours of compositing in multiple programs.
0484 was back again to manage cameras and lights. They helped filmed the first Stones spot that we also shot at Wolf Camp Studios. We filmed with the Sony FS700 at a high frame rate to give us the option of normal or slow motion to be utilized in post production.
This time we included live action footage from the actual casino with real people stylized to have a flat "toon" effect. Here you can see the many layers of compositing that it took to create one single shot.
To get the look we wanted involved heaving color correcting with levels and curves, grading with hues and saturations, as well as an effect to find the edges of the subjects to get that clean outline. With a little post production magic we ended up with a great balance of live action footage with CG integration.
Below is the BTS and breakdown of the spot. See the magic appear before your eyes!
On this project, rG was tasked with rigging and animating the latest Hoover AIR Cordless vacuum, as well as showcasing it’s multilayered suction capabilities.
To start, the CAD model is imported, fixed of all defects or artifacts and readied for materials. Next, we match and apply both materials and shaders to each individual piece. Once the model is textured, we move on to the rigging phase. For this project we created a custom rig that allowed us to not only steer and glide the vacuum around, but also animate the hose and detachable canister. Next step is the suction!
The Hoover Air Cordless features an advanced three layers of suction technology that needed to be showcased. After rigging the internal mechanics to work how they should we used the latest in fluid dynamic simulation technology to create each individual layer of suction. The key is to isolate each section and run a simulation for each layer. Once everything is buttoned up, we do final adjustments, cameras, and lighting. Everything is rendered out in individual layers then composited into the final piece.
Access Networks, the company that keeps on giving. We have done work with this company in the past (here's the older project). And they came back to us for another one. Access Networks purchased a glass case to display their router that allowed 3D holographic projections to assist in further telling the story of their company.
Being able to see our work in a holographic form was very cool. All these new technologies to not only connect but entertain the customer or viewer is very exciting.
Above is a quick montage of the processes and elements we built out for Access Network's networking solutions.
We had the opportunity to do a little logo animation for our buddies over at RASTACLAT! Be sure to go and check out their collections.
Below there is the directors cut (with sound FX ) and the version we delivered to them to use in their campaigns.
It couldn't have been a cooler project to start things off with Oakley. The Heritage collection brought back so many memories for us. We grew up in the 80's and had front row seats to the radical innovations Oakley was making in the eye-wear industry. We wanted to make sure our visual treatment stayed true to that historical heritage and legacy.
Several rounds of meticulous material & textural testing were logged to get the right look and feel for the several lines of eye-wear. There's no question we only scratched the surface on some of the development and testing Oakley goes through in developing the actual products.
Music and sound design are such a huge part of the project. We were stoked to have the genius composing skills of Carlos Ramirez on the job with us.
The team was challenged on multiple fronts from the 3D model side of the story to the in depth typography animation that made this motion piece stand out. Chris Haag led the motion graphics team in bringing the conceptual typography treatment to life. Check out the animated typography treatment below.
A large part of this project called for a motion treatment that was used to transition different frames and lenses from one to another. We tested several transition animations to see if they fit the style and concept.
We wanted to make sure the typography placement and treatment was not an afterthought to the animated 3D models. We were pumped to find a solid home for the text to live with the glasses.
Oakley developed a very cool distortion transition that played across their entire campaign. We matched the distortion style and implemented that transition across the animation sequences.
It's easy to smack on pre-made shaders and textures to clients products. Oakley was kind enough to offer us many practical pre-production products to make sure we got the exact look, feel and texture to their products. We can't express enough how important that stage of detail is during the production process. Working with clients that appreciate the nuances and details of the digital and practical side of product development is critical.
A massive thanks goes out to Oakley and their creative team. Looking forward to working with that incredible company again in the future.
We couldn't be more honored to work with the Anaheim Ducks again! To be a part of the historic Teemu Selanne Tribute Event at Honda Center was a dream for us here at Related Grey. We're huge sports fans and to be involved in the visual production elements for our home town teams is what it's all about! We can't thank the media production team enough over at the Ducks headquarters! Check out some of our work and the killer Ducks media videos below.
Above is a quick montage of the titling and CG Logo Event elements we built out with the ducks team. The Forever 8 logo was already built and we were tasked to incorporate it within the events media screens, and special drop down LED displays.
We wanted to stay true to the Ducks clean iconic branding elements and recognizable look and feel. Adding hints of molten lava and smoke effects were some of the pieces we hoped would make the logo stand out even more.
Check out the killer making of video produced by the Anaheim Ducks team. ->
We had a killer time working with various VFX simulations. Smoke, liquid and thinking particles are a huge plus in these types of environments.
Every project definitely has its challenges, this time around it was pretty smooth sailing. We had the opportunity to utilize multiple media spaces, massive screens and LED displays in and around the the Honda Center. We always strive to be as flexible as possible when it comes to custom delivery specs. It's always worth spending the extra time and effort making sure you've maximized the visual impact during a massive event such as this one.
Working with the Ducks media and marketing team is always a good time. They're always looking at doing something new and inventive.
There's still plenty of hockey to be had this season. Check out the rest of there schedule: GO DUCKS!
Another cool project in the books. We had the opportunity to do a :30 second spot through MeringCarson for Stones Gambling Hall. They had a rough storyboard of what they wanted to see and some art direction that we were able to take and expand visually to tell their story. We developed some concepts and looks of how we were going to move through the piece and transition from scene to scene.
We partnered up with 0484 again to shoot the live action at our friends'studio,Wolf Camp Studios. We knew that there was going to be a lot of post work to do on the talent footage so we shot the whole spot on the Sony FS700 at a high frame rate for the most flexibly in post to pace out the animations with speed ramps and slow motion.
After the shoot, we went through and gathered all the selected shots and put them in a rough timeline. From there, we treated the footage in the style that was desired. Then, we started to composite the 3D environment within the piece. We explored a number of different looks (experimenting with multiple shaders, textures and lighting on the 3D side of things), until we landed on the final look.
One of the challenges we faced was figuring out how to get from scene to scene in a simple, clean, smart and creative way. Above are three of the main assets we used to do that.
This was the first time we got to work with the good folks at MeringCarson and it was a great project for us to be a part of. There was a lot of trust given to us to explore different directions and the creative process went very smoothly.
Designed, built and tested by the rG team, the limited edition hats are finally in stock. Check out the rG Store today.
Black on Black, Sergeant Patch Adams, Patch Adams, rG Trucks & rG/LA hats are adjustable back design for ultimate personal preference. For more detailed information check them out in the store.
GhostGlass & rG -
Hands down, this was a rad project! JUXT wanted to bring some ridiculous user experience to the 2013 auto shows for Scion. They had 4 stories they wanted to focus on: their 5 Hero cars (FRS, iQ, tC, xB & xD), Scion Racing, the Scion culture and the ScionAV experience. The concept was focused on interactivity and innovative technology to tell their story.
At the various auto shows throughout the country, they had several multi-touch 42” LCD screens throughout the Scion showroom and they developed a sick transparent controller card that activates the surface and responds to the user's choice. We came in to build out the numerous graphics contained within each of the 4 different essences (stories/menu items) so when the user chooses a section, digital content bursts from beneath the glass, whether it's the FRS and tC burning out, the xB exploding an interactive beat-making machine or the iQ doing backward burnouts showing its turning radius.
We got involved with this project thanks to our good buddy Jeff Whitney who worked with JUXT and was heading up the project. By working closely with him and his team, we were able to develop all the graphical elements to maintain their perspective and stay true to their vision.
This project was heavy in both the 3D and 2D worlds with many layers to each asset delivered. In some cases we had to deliver several assets separately to the programmers because each state of animation had an individual action assigned to it. We worked directly with the developers to get it as fast and efficient as possible. We provided about 30 separate png sequences and because there is a possibility of eight users on one of the surfaces enjoying the GhostGlass experience at one time, it had to run smooth.
There were five complete CG cars, two of which had their own highly detailed car wrap that was custom built to match their real life racecar wrap. Each composited car had several layers to it, like tire tread trails, stylized tire smoke trails depending on the style of the car, head lights, tail lights and glass shards. All combined, it made good looking cars moving through the environment.
Businesses often have limited options for showcasing their commercial or industrial products in a way that captures the imagination of their consumers. Related Grey has the CGI capabilities to re-materialize physical objects into 3D space with absolute customization, fidelity, accuracy, and quality. Working with Harvest Dental, a local dental laboratory we were able to collaborate in rebuilding their entire digital product inventory.
Above is a quick demonstration showcasing the modeling sequence from actual physical model to a photo real 3D model. We are able to animate or render the photo real 3D model into any environment once the modeling is complete.
We start with either the CAD file or physical model provided by the client. When CAD files are provided, we typically retopologize the geometry and clean-up any rough areas.
With actual physical models, we get the model scanned and imported into our software to be used as blueprints that we build to scale.
After modeling is finished we move on to texturing for labels, color, and surface composition to match identically whatever it is we're replicating.
By opting for 3D modeling, instead of conventional still photography, you have the flexibility of making environmental and studio changes on the fly. Using 3D modeling also lends itself to animation, retakes, model adjustments, pre- and post-production, infinite resolution of imagery, and the ease of having all models and assets instantly ready to be used for any new changes or concepts as they emerge.
Harvest Dental, is an innovating dental laboratory that designs, manufactures, and ships products all over the world. They're an amazing client and close friend. Also located in the growing business district of Brea, CA, Harvest Dental is moving ahead by digitizing their products into a 3D model archive.
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