BRIDGESTONE - ARMADILLO
For the new commercial for the new Ecopia Tire, I was asked to do an Armadillo and a CG Tire as the main characters. The commercial tells the story of an Armadillo who wants to play with a Tire, but can't keep up with the sharp curves and the bumpy road.

Click HERE to see the final video (opens in a new window).

PANDA - CADBURY GEMS SURPRISE
This TVC was done with the Indian director Vishal Mangalorkar, and was on air in India. In this TVC two Pandas are eating Cadbury Gems under a tree. They soon discover that the Gems ball are not only containing sweets but also include some Ben 10 plastic figures. This is probably the most difficult commercial I have done so far, as the artistic and technical requirements were so high !

The commercial was shot in a natural park in Khao Yai, Thailand, using a RED camera. 4 actors were playing the pandas. The heat in the costumes was so high that the actors had to be switched at the end of every shot.


Building the head of the pandas was quite difficult as there was very little reference on the internet or books. The big amount of hairs on the face made it difficult to find the exact shape of the head and skin under the hairs. At the end, the modeling was based on white polar bears - hairs are less puffy - (even if the panda isn't classified as a bear but as a family of raccoon) and skeleton references of pandas.

The director wanted the pandas to look very dumb. We went through many pre-approves with the director to make sure we found a correct look that pleased us both. Once the commercial was shot and we got the fullgrade, we had to do further adjustments on the hairs style as we had to match the costume on the footage.

The Pandas were rendered with 3d Studio Max using the default Scanline Renderer. No GI was used, just a huge amount of light projecting soft shadows. The compositing was done with After Effects. The animation was done by Alejandro Garcia.

During the shooting I took a series of HDRI Data that was used to create both the lighting and reflections on the hairs. The pictures were taken with the custom tripod head that was build for previous projects.

The pandas had to play with Ben 10 Characters that came out of the Gems Balls. The models were based on the real toys but the modeling had to be refined because the scale was much bigger and therefore we could see more details. The rendering was done with Vray. At Digital Magic we recently made the acquisition of Vray RT which was of great help while doing the shading of the Ben 10.

The models were then tracked over dummy models. The dummy models were built with foam and painted in blue to be keyed and remove easily.

Here is the making of the commercial showing the different technics involved in its creation :

ISUZU DMAX S SERIES
With this job I had the opportunity to design futuristic architecture and motion graphics. The commercial was directed by Veera Sae Ueng, and on air in Thailand. A very interesting commercial with nice visuals.

POCARI SWEAT
Mr woody feels dehydrated ! This is definitely the most exciting, creative, interesting and potentially award winning job I've ever done :-)
Directed by the international renowned director Bo Krabbe, bringing his own never-seen-before style supported by the creative mind of Dentsu, the Japanese/Indonesian agency.
The animation was done by Alexandro Garcia. The design, modeling/texturing tracking and compositing was done by myself.

Here is a portrait of the Pocari Man dressed in one of the three suits we had to design.

The woodpecker in the commercial symbolizes the headache of the Pocari Man. The feathers were done using a scattering system and some of them placed manually. The soft look of the feathers was achieved using a translucent material and alpha maps. It was very important for us to come up with a unique design. The woodpecker also had to look nasty and mean.

You have to see it moving, here are all the spots we did (queued up in one single video) :



Links :
Republic of Bo Krabbe
Dentsu

CLIVE BARKER'S BOOK OF BLOOD

During the first half of 2008, I had the great opportunity to be the VFX Supervisor of all the 3d scenes of "Clive Barker's Book of Blood".

The "Book of Blood" is the latest movie from Clive Barker, this time directed by John Harrison. The horror story features a young college student who appears to be channeling messages from the dead.

I worked on this movie with a small team of 5 persons including myself. Julien Vanhoenacker and alejandro Garcia were doing the blood fountain, and Yves D'incau, Pichaya Popanyasak and myself were doing the dragonflies sequences and the clamp on the mouth. The CG process took a little less than two months.

Here is the VFX breakdown :

THE BODY
A horror movie filled with visual effects and special effects. The story of a double personality troubled person. For this feature film we did more than 15 minutes of visual effects, including a 2 minutes full CG shot. Good fun.


Here is an sample of the mesh I built for the "Skinless" shot. I took several pictures of the talent, to match his morphology, then modified the mesh so it looks like a skinless model. I created a displacement map using Zbrush and then enhanced it in Photoshop.

Check the CG trailer we did for the Awards :



In february 2008, we won the oscar at Suphannahong 17th Oscar Ceremony, for the best Visual Effects of the year.

IMDB "BODY#19" entry : click here
IMDB "Suphannahong" 17th Oscar ceremony : click here

CADILLAC - NEW CTS

A beautiful car running through an ice city, the fastest man on earth as the main talent (Liu Xiang), a kick ass director of photography plus world class directors from London.

Above : Early sketch design of the ice city

Below : Pictures of the final output : The first picture shows the car composited in the CG ice and the CG environment.
The second picture shows the car, shot static on white background in studio, running in the CG environment.

The shooting was done in Shanghai. It wasn't easy... Shot in a very big studio during three days - and almost three nights -.
There was a minimum of 50 persons on the set, due to Liu Xiang as the main talent. It was very hard to do the shooting in these conditions.

Most of the shots were shot with a static car. This way the lighting was easier to control. Later on, we had to track the car, erase the static wheels and replace them with CG rotating wheels. We also had to composite CG reflections moving on the surface of the car, to enhance the motion. Using compositing tricks and masks, we manage to completely blend the CG reflections with the car and get 32 bit reflections with all the dynamic range. This way we could get nice motion blur and depth of field.

Below : The DOP looking at the first shot of the 15s commercial (the car in the ice cube).

We did many designs, as at the beginning the director's idea was to have the car in a kind of icy cavern. The agency wasn't really going for this idea, and as the project went, the design progressively evolved to be a huge stylish titanium hangar. The main idea that kept going through the process of the commercial was "crystal sharp" or "diamond cut".

Below : Early designs of the cavern.

Even though this project was very hard and exhausting, I learn a lot with the contact of many talented people. The most interesting was to discover the DOP's techniques to light the car, that I'm now using as CG lighting technique.
The commercial as been on air during the 2008 Beijing Olympic games.

M150
M150 is an energy drink. This series of three commercials are based on the idea that with self confidence you can achieve anything.

This is one of the three commercials for M150 we had to do. I had to design and build an entire arena. That was a fun part. I had complete freedom on the design, the director just said "I want an arena !". I came up with this design after a few days. I decided to play with the shadows as a symbol of the inner fear inside each one of us.

Here a comparison between sketch design and final picture.

Everything was shot on green screen in studio. A big work of keying - rotoscoping and compositing was necessary. 3x45 seconds commercials were done in 2 months. This one here, The Arena, was done in less than a month (28 shots).

BBQ PLAZA
The meat in this restaurant turns you into a real lion. This was again a very funny job to do.
There was plenty of different small jobs to be done, like enlarging the mouth of the talents, extend their teeth, and make one of them turn into a lion.

I morphed two faces together. The actor's face was modeled on computer, using photograph references taken on set. Then, this mesh was morphed into a lion. Hairs and saliva were then added. I built a special rig for the mouth and the tongue, to allow it to be scaled and to be deformed as a real lion's tongue.


Unfortunately the commercial was never displayed in Thailand, it didn't pass the censorship. It was on air in China though.

SYSTEMA - DRAGON
A mouthwash which doesn't burn your mouth, here compared to other products.

Doing the fire effect wasn't an easy thing. The final output is a mix of many techniques : element simulation, compositing with elements shot on set, and shading work.

GIRLY BERRY - MUSIC VIDEO
This Music video was a big piece of work. We had to build and composite a full CG background on 180 shots within 10 days ! Luckily we had a week to prepare some models before the CG creation.
Because the censors wouldn't allow to show the singers naked, I was in charge of modeling the 4 girls in sexy poses, to be displayed as statues. A clever way to bypass the censors.

Everything, from the ground to the sky was shot on green screen. A good pipeline for keying/masking was necessary.
Here is another model, displayed in the museum (which isn't one of the singers)

CHANG - HELP
Chang is a mosquito repelant brand in Thailand. This is one of the first jobs I've done when i got in Bangkok. A good fun, and a good oportunity to increase my skills in setup and rigging.