We are happy our partners from Smith called us for this project. They only had two days for shooting this on-site, so the time for pre-producing each shot was very short, they had to be very pragmatic. There were some specific actions they needed but most of the footage was randomly taken from different angles and ended having sense at the editing suite.
So our challenge was to create dramatic moods from footage with different lighting conditions and video formats. It needed to have a color progression from cold to warm and find a balance between realism and beauty. We chose Pablo Olivera for the concept development and BleedVFX for all the technical work. Our job was to give direction, coordinate areas and work on final passes.
CREDITS
Agency: Saatchi & Saatchi Wellness
Production Company: Jake Mills
Post-Production Company: Smith Design Office
Executive Producer: Geraint Owen
Creative Director: Alexander Smith
So our challenge was to create dramatic moods from footage with different lighting conditions and video formats. It needed to have a color progression from cold to warm and find a balance between realism and beauty. We chose Pablo Olivera for the concept development and BleedVFX for all the technical work. Our job was to give direction, coordinate areas and work on final passes.
CREDITS
Agency: Saatchi & Saatchi Wellness
Production Company: Jake Mills
Post-Production Company: Smith Design Office
Executive Producer: Geraint Owen
Creative Director: Alexander Smith
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Post-Production Director: Roberto Connolly
Line Producer: Tomas Rajlevsky
Concept Artist / Matte Painting: Pablo Olivera
CG Development, Compositing & Color Grading: BleedVFX
CG Supervisor: Paolo Cavallieri
Executive Producer: Lisa Maffi
Coordinator: Lucila Trobbiani
Additional Compositing & Final Passes: Roberto Connolly and Tomas Rajlevsky
Line Producer: Tomas Rajlevsky
Concept Artist / Matte Painting: Pablo Olivera
CG Development, Compositing & Color Grading: BleedVFX
CG Supervisor: Paolo Cavallieri
Executive Producer: Lisa Maffi
Coordinator: Lucila Trobbiani
Additional Compositing & Final Passes: Roberto Connolly and Tomas Rajlevsky
PROJECT SNAPSHOTS
PROCESS
It was a collaborative process. Client provided us a moodboard with mock-ups and a color description sheet. We took that brief as a starting point and developed 4 matte paintings of the key moments in which we needed a different sky and mood.
We are happy they loved it. Once approved we passed the layered comps to the compositing team to work shot by shot.
The job was in a good part sky replacement and color grading. But there were also many shots that had particular requests, needed tell the story with the right mood at each moment. We worked together with the team to find solutions on challenging lighting conditions shots and all these extra CG elements. For example, we had to generate a CG ocean for the ones that needed the sunlight to reflect on a different area of the frame, change the spinnaker sail color or add a curved wake in a particular long shot. The team did a great job and delivered us quality work.
Our final stage was to add some extra details such as foam and white caps and do final color passes.
We are happy they loved it. Once approved we passed the layered comps to the compositing team to work shot by shot.
The job was in a good part sky replacement and color grading. But there were also many shots that had particular requests, needed tell the story with the right mood at each moment. We worked together with the team to find solutions on challenging lighting conditions shots and all these extra CG elements. For example, we had to generate a CG ocean for the ones that needed the sunlight to reflect on a different area of the frame, change the spinnaker sail color or add a curved wake in a particular long shot. The team did a great job and delivered us quality work.
Our final stage was to add some extra details such as foam and white caps and do final color passes.
