Post Magazine

October 2011

Issue link:

Contents of this Issue


Page 43 of 51

postings THE COLOR OF TANKS H OLLYWOOD — In a Place Post (www.inaplaceproduc- helped give's new World of Tanks trailer its vibrancy though color correction by Milton Adamou. The game centers around intense tank battles throughout city, desert and tree-filled landscapes, and the two-minute trailer serves as a photoreal glimpse of what the game has to offer online players. Sixty artists at Imagination Studios (www.imagination- in Serbia spent two months creating the CG trailer. In A Place Post's Adamou used traditional color tim- ing techniques on the fully CG trailer, focusing on separat- ing the tanks from the hot deserts and the crumbling streets CHEW ON THIS L ONDON — Animation studio Kettle (www. collaborated with produc- tion company Unit 9 on a new Mentos US cam- paign for The Martin Agency. The UP2U cam- paign ( promotes Mentos gum, which offers two flavors in each pack. The online campaign consists of a Website that hosts eight quirky short films, each matching up unlikely pairs — Zombie or Game Show, Monster or Aerobics, Superhero or Supermodel. In each, the viewer chooses their preference, and the results are tabulated and then revealed. Kettle supervised the project, as well as pro- duced the VFX and color graded all eight :45 films. Creative director Jules Stevenson says the studio worked closely with director Anrick Bergman and DP Carl Burke to make sure all worked well early. 3D elements were created in Softimage and rendered with Arnold Render using in-house shaders. Live-action footage was tracked and integrated with the 3D assets using Nuke. The final grade was applied in After Effects. of Berlin. He also used compositing techniques and sharp- ening plug-ins to help create an almost documentary feel. For the Berlin shots, Adamou used contrast and density to establish a base grade. He pushed the green into the blacks and mid tones, and reduced the intensity of the flames. He then performed a secondary correction for the flames, dial- ing back some of the original warmth. Quantel Pablo was used for the grade and to blend elements to achieve the final look of the flames. In another shot, taking place on a crumbling stone bridge, diffusion and particle effects were added to the overcast sky. Where there is contrast, the unsharp mask filter brought out tank detail creating a realistic, modern presence. Steven Ilous directed the piece. In a Place Post's Augie Arredondo handled the online. Echolab provided music and sound design. MAKING IT MOODY L DESTINATION FUN L OS ANGELES — Superfad ( produced and posted a new spot for Cartoon Net- work that encourages kids to explore its Toonix Web- site ( Directed by Nando Costa, the promo opens on a boy who transforms into a colorful animated character, and then shrinks down to the scale of an action figure. His desk becomes the animated embodiment of Toonix in the real world, with 3D characters running wild in a micro-universe. Toonix is a place where online visitors can explore a broad library of cartoons and games, as well as interact with others in a social network manner. The Cosmos spot was produced using a Canon 5D camera and a single axis Dynamic Perception motion control dolly. The visual effects and CG characters were then tracked and incorporated using Autodesk Maya and Adobe After Effects. JC Richardson at Magick Lantern created the sound design. ONDON — Rushes worked on the visual effects for Wuthering Heights, Andrea Arnold's latest film based on Emily Bronte's novel. The studio collaborated with Arnold and editor Nicolas Chaudeurge in the past on both Red Road and Fish Tank. Produced by Ecosse Films and shot on location by Robbie Ryan in the north of England, the film required the addition and removal of rain across a selection of shots to add to the mood and maintain continuity. In addition to the rain effects, various modern details on the landscape and buildings were removed and cleaned up. Jonathan Privett was VFX supervisor on the film. According to Privett and VFX producer Louise Hussey, the effects had to be seamless and invisible. "Andrea's films are never about flashy, visible VFX, but subtle work that simply works with the beauti- ful shots in the right context," they said in a joint statement. The studio used Maya and Nuke to pull off the effects. The DI was completed at Rushes' sister company Deluxe 142 by Rob Pizzey. The film will be released in November by Artificial Eye. 42 Post • October 2011

Articles in this issue

Links on this page

Archives of this issue

view archives of Post Magazine - October 2011