Post Magazine

May 2010

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P O S T I N G S 3D TV GETS FISHY V ENICE, CA — Digital Domain ( was hired by agency Leo Bur- nett to bring Samsung 3D LED TVs to life in a new stereoscopic 3D ad campaign. Directed by the duo Twin of production company Rabbit, the stereo 3D Wonder-full and Monsters & Aliens Invade Homespots are part of Samsung’s “Dedicated to Wonder” market- ing campaign and were created for point-of-purchase and cinema viewing. They premiered in early April. 2D versions of the spots are also airing on television. Digital Domain provided on-set stereo 3D VFX supervision for the project, which was shot by DP Mauro Fiore. In Wonder-full, a family visits an aquarium and the father uses his finger to draw a 3D cube, which captures a scene from a large fish tank. He then brings the three di- mensional image home and inserts it into the family’s 3D TV, from which a giant stingray seemingly swims right into their living room, duplicating the aquarium experience. Monsters & Aliens Invade Home features characters from DreamWorks’ animated feature. For Digital Domain, Jay Barton was VFX supe, Richard Schuyler Morton was CG supe and Chris Fieldhouse was VFX producer. The Digital Domain team used Flame to pull off the visual effects, as well as Nuke for compositing. Chris DeCristo and Matthew James Bramante han- dled Flame work. Rafael F. Colón, Sven Dreesbach and Craig A. Simms performed Nuke com- positing. Jim Haygood of Union cut the spots. Union and Resolution LA handled audio post. SOCCER SLOWDOWN N EW YORK— Crew Cuts (www.crew- recently posted a :30 spot for Home Depot, out of agency Vidal Partner- ship, that highlights the home improvement chain’s sup- port for the Mexican National Team as it gears up for this summer’s World Cup. The commercial features extreme slow-motion footage, captured using the Phantom camera, that shows the details of a soccer match, juxtaposed with the action of handymen using Home Depot tools. Some of the scenes were shot at a frame rate of up to 7,000 per second. The footage of the Mexican National Team players was shot at 2,000/3,000 frames per second. Final Cut Pro was used to edit the piece. Postal’s Norman Christianson directed the project. Crew Cuts credits include producer Jessica Gonsalves, ed- itor Gabriel De la Mora, assistant editor Alexandra Debri- con and senior producer Jay Rivera. Ian Glaum handled visual effects and Josh Weiss cre- ated graphics/animation, as well as performed the online. Nick Montgomery mix the spot’s audio track. RED INFLUENCES YOUR DECISION L OS ANGELES— DI studio Lit Post ( completed work on a music video for rock group Alice in Chains. Your Decisionis the second single from Alice in Chains’ new album, “Black Gives Way to Blue,” and the video features footage shot with the Red camera, along with B-roll captured with a Canon 5Dii camera. Lit Post handled the conform and online effects, as well as color grading from native Red RAW files. Some VFX were delivered with an embedded alpha channel, allowing com- positing over Red footage inside Digital Vision’s Film Mas- ter. The studio worked with DP Michael Lohmann and direc- tor Stephen Schuster to established a rich look for the video, which was produced by Buck’s Boys. The band was looking for a dark tone — Film Master’s DVO tools were employed to advance noise reduction without softening the image. SLICK AND TRANSPARENT N EW YORK — Resident Creative Studio ( created an experimental animated music video for UK-based electro-dance band Chew Lips. The video visualizes the band’s “Slick” track and centers around a trans- parent girl who explores an artistic world using 3D glasses. Lead singer Tigs describes the Resident-produced video as “very evocative,” while bandmate James Watkins says he likes how the visuals evoke ideas and feelings from the lyrics, as opposed to literal treatments. Gregory de Maria directed the project and Meredith Machial served as EP. The five-minute video contains approxi- mately 150 shots, all of which were created using Autodesk Maya and Adobe After Effects. De Maria was challenged with designing the look of the girl — transparent, with colorful edges that form her outline — in After Effects, and apply- ing that look to the three stages of her life. He also created the particle trail that follows her. 36 Post • May 2010

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