Computer Arts - UK (2019-11)

PROJECT DIARY

COMPUTERARTS.CREATIVEBLOQ.COM

NOVEMBER 2019

honeycomb, so we made sure these were as
lifelike as possible. This was achieved using
photogrammetry techniques and software
including Forester and Houdini, and we then
graded these elements to make sure that they
really popped.
The difference between the renders for print
and the film, other than the hike in resolution,
is in the visible detail. In the film we tried to
make things look cinematic, and sometimes
that meant a bit of motion blur or camera
aberration. When it comes to isolating one
frame to render, you want it to look as crisp as
possible. This meant increasing sample rates,
redoing the lighting, different grading and
retouching the images.
Working on this project we had six motion
designers using Cinema 4D, Houdini, Substance
Designer, Substance Painter, Forester,
X-Particles and Octane Renderer. Our hardware
included 2080 Ti graphics cards.

GETTING THE VERDICT
By Mike Sharpe
Too Good to Hide has been one of the most
collaborative and enjoyable experiences we’ve
ever had with an agency and brand. Often,
highly ambitious projects are watered down
through the production process and inevitable
design-by-committee, but the final films are a
testament to everyone believing in and staying
strong to a wonderful creative idea.
The feedback from our clients has been great.
Racheal Vaughan Jones, global senior brand

PROCESS

Nearly all the jobs we do now require

some aspect of photo-real rendering.

We’ve had to adapt our production

workflow and upgrade our systems

and software. The three big areas of

change are as follows:

PEOPLE

We need more technical problem-solving

now and artists need to be a lot more

savvy with procedural-based software.

PRODUCTION

Our workflow has changed, with more

clearly defined project phases and

much longer production schedules

and lead times.

EQUIPMENT

We’ve overhauled our workstations, server

and render capabilities, enabling us to

deliver higher-quality, high-resolution,

photo-real projects.

THE GROWING DEMAND

FOR PHOTOREALISM

Creative director Mike Sharpe on how the CG landscape is changing

manager at Ballantine’s, said: “A wonderful

partnership. Fantastic, it really is something to

celebrate.” And our creative director at Cubo,

Jonathan Sant, said: “We ‘found’ a perfect

partner. Found’s technical abilities as craftsmen

of CG, combined with their strength as

storytellers, added depth to our concept.”

The film is a real achievement. That we are

able to make films in this way is a testament to

the continued evolution of both our studio and

motion design in general. It really is an exciting

time and we’re in talks about creating another

three films for this campaign.

12 Not seen in the final film, this hero

shot was rendered putting each of the

three single malts - Miltonduff,

Glenburgie and Glentauchers - on a

stone pedestal.

12