Title | XV HYBRID ALL WEATHER FIELD |
Brand | FUJI HEAVY INDUSTRIES |
Product / Service | SUBARU XV HYBRID |
Category | A02. Computer Graphics/Visual Effects |
Entrant | ADK ARTS Tokyo, JAPAN |
Entrant Company | ADK ARTS Tokyo, JAPAN |
Advertising Agency | ADK JAPAN Tokyo, JAPAN |
Production Company | ADK ARTS Tokyo, JAPAN |
Production Company 2 | CUTTING EDGE Brisbane, AUSTRALIA |
Name | Position |
---|---|
Osamu Saotome | Executive Creative Director |
Junichi Tanaka | Creative Director |
Junichi Tanaka | Copywriter |
Takuo Yamamoto/Midori Nomura | Art Director |
Tsutomu Nezu/Mitsuyuki Ishibashi | Agency Producer |
Tomonari Motobu/Junji Matsuo / Bec Dankin/Flavia Dias Riley /Jessica Vines | Producer |
Jeff Gaunt | Director |
Kerry Farrel | Editor |
Cutting Edge | Sound Studio |
Ross Batten | Sound Design/Arrangement |
Cutting Edge | Post Production |
Rob Conn/Phil Jackson/Richard Deavin/Jake Hempson/Matt Hanger | Animation |
Mike Lange | Music |
Katsuo Yonezawa | Planner |
Jeff Gaunt | Special Effects/Computer Graphics |
Ben Shirley | Director Of Photography |
Cutting Edge | Editing Company |
Yusuke Minato | ProductionManager |
Flame Composite - Antony Haberl | Other Credits |
XV is a totally new hybrid city and sports vehicle. We express this concept by showing the car driving through various weather conditions and roads, which is actually the car itself.
In this spot the script called for ‘car on car’ action and virtually demanded it be delivered 100% CG. The initial challenge was how to structure the car driving on itself through various weather patterns, and then to establish how it would look and feel. The trick to making the idea work was to subtly signal that all was not as it seemed. The miniature car was given a quirk to its motion, a slight weightlessness in the animation to give a sense that it’s not all quite real. The subtle depth of field effects also helped. Because of complex camera moves, the environmental elements had to be created - there was no component shoot for the mud, snow and rain. This meant a lot of work texturing the car, and getting mud splats and snow splats right required creating an animated file in Flame for Maya to turn the mud layers on and off as the car was moving. Usually sims are contained in small areas but these areas were huge; finding ways to achieve this was a wonderful challenge. In Maya and Realflow, sims such as the rain took 48 hours for the computer to do the calculations.