Issue link: http://digital.copcomm.com/i/710451
www.postmagazine.com 52 POST JULY 2016 POSTINGS SAP ANYWHERE VENICE, CA — OffAbbot (http://offabbot.com), the immersive storytelling studio, and their partner company NoSlate Productions (http://noslate.com) recently teamed with SAP Anywhere and virtual reality filmmaker Matt Celia, to ride along with baseball Hall of Famer, classic car collector and founder of Reggie's Garage, Reggie Jackson. The new, immersive short gives viewers a 360 VR look at the famed ball play- er's classic car collection and insight into his vision for his growing business. The VR piece not only provides viewers with the opportunity to explore his collection, but lets them ride shotgun with Jackson as he details the history of his classic 1955 Chevy. For the shoot, rigged cameras they wouln't damage the cars. The post team then rotoscoped the rigging. The team used a 10-camera GoPro rig from 360Heros for the shoot. Editing and VFX were done with Adobe Premiere and After Effects. The footage was stitched using Kolor Autopano Video Pro. THE REAL GUMMIES OF THE BLACK FOREST NEW YORK — Full-service production studio Shuttlecraft (www.shuttlecraft. tv) and Chicago-based ad agency Tom, Dick & Harry Creative Co. recently teamed to create a playful online campaign for Black Forest Organic Gummy Bears from Ferrara Candy Company. The "reality" series — titled The Real Gummies of the Black Forest — features the hijinks of The Organics, a family of well-off gummy bears living lavishly in the forest. The campaign debuted in June with a teaser and three :30 episodes. To bring the concept to life, Shuttlecraft needed to create CG gummies that could move and interact believably with each other, all while looking juicy and delicious. David Bell and Joe Scarpulla hand-molded and sculpted a 1/12 scale version of the forest. Shuttlecraft also used a 3D printer to create many set elements. The studio combined the CG elements with live-action plates. Maya 2015 was used for animation, Arnold for rendering and Nuke for compositing. Zbrush was used to sculpt the bears. The project was shot with Sony's F55. GO BABY GO LOS ANGELES — MPC VR (www.moving-picture.com), the virtual reality arm of visual effects studio MPC (The Jungle Book, The Martian, Life of Pi), created its first project for MPC VR Originals. Titled Go Baby Go, the VR experience is staged in an alien galaxy, some time in the not-too-distant future, and features an intergalactic rocket ship/1971 Dodge Challenger hybrid. This is the viewer's ride as they discover new dimensions. Created by director Rob Petrie and EP Tim Dillon of MPC VR in collab- oration with the studio's team of digital artists, Go Baby Go is an original, fully-CG endeavor. The teaser was built in Maya and environments were built in Unreal Engine, viewable for the Vive VR headset. MPC is using proj- ects like this to push the boundaries of how good photoreal and stylized environments can look in the VR world. The soundtrack was developed by Q Department and Dražen Bošnjak of Mach1, which created a '80s-infused electro pop anthem. The full-length experience will debut later this year. ANIMAL KINGDOM CHICAGO/HOLLYWOOD — John Wells and Jonathan Lisco — the exec- utive producers of the new TV series Animal Kingdom — and John Wells Productions EVP/head of television Jinny Howe recently chose title designer and director Erin Sarofsky and her team (http://sarofsky.com) to design the main title sequence for the bold family crime drama. The main title prepares the audience for the show's violent, amoral and virile world. Sarofsky and her team were given :60 to explore the permanence of the family's relationships, using the tattooing process that matriarch Smurf (Ellen Barkin) endures. Amidst the tattooing sequence, scenes appear distilling boys' childhoods and their transitions to manhood, intentionally juxtaposing jarring imagery. Stuttering visual effects and shifting on-screen type add subtle finish- ing touches to the title's visceral punch. The Sarofsky team spent seven days of shooting in Chicago, Miami and Los Angeles. They used Phantom Flex4k, Sony A7r II, Canon C300 Mark II and Arri Alexa cameras. The editing style combines choppy footage and type treatments to deliver an intentional staccato effect.