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Diary of a Range Rover shoot

Blog
13 January 2011

Cricket producer Lindsay Garka reveals the behind the scenes activity that went into creating a slick, effects-heavy corporate launch film for the new Range Rover Evoque.

June Receive brief from client: Create a launch film to visually position the new Range Rover Evoque as the new car for a changing world – smaller, lighter, greener and designed for the city. The challenge is how to do this while integrating it with the PR campaign ‘Pulse of the City’?

28 July Final approval from client. Pre-production commences and we meet with the DoP, motion control and cgi teams at Smoke & Mirrors.

2 August Commence pre-viz and matte painting for background city. Composer briefed. Talent, wardrobe, studio, crew, kit, 35mm stock and processing all get ticked off the list.

4 August Three days before the shoot the studio pulls out as their current shoot is running over! Book another.

Range Rover Evoque Coupe Launch Film from CRICKET on Vimeo

9 August Rehearsal day for motion control – maintaining the accuracy of the car positioning and camera movement is essential. How will we ‘lock’ the suspension so the vehicle doesn’t move position when the talent sits in the vehicles? A little rummaging in our grip’s van and everything is sorted. Thanks Tom.

10 August The next two days are spent filming nine highly complex, identical camera moves, each with different lighting, prop, camera setting and talent configurations, for each of the four shots that create the final multi-layered sequence. Meanwhile, the post teams are perfecting the cg texturing of buildings, the vehicle and people on the street by using a combination of high-def photography, matte painting, cgi and live action footage.

12 August Post at Smoke & Mirrors. Part of the process is a cg takeover to reveal the inside of the car (the parts the camera could not reach) using CAD data compositing in Flame and Nuke to ensure the transition is seamless. The entire environment is constructed in cg using the matte paintings as a base, onto which is modelled geometry to embellish the architectural structure of the scene. In addition, to ensure there is a human touch, the scene is populated using Massive with people walking on the pavements, while light trails, glares and glows finish the piece dynamically.

18 August
Offline edit and client approvals this week including the master beauty grade and lighting of vehicle and city background. Cg magic continues gathering momentum.

29 September
Launch film arrives at Paris Motor show ahead of press day.

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