Issue link: https://digital.copcomm.com/i/22819
postings BRICK BUILDERS N THAT’S LOGISTICS! N EW YORK — Nice Shoes (www. niceshoes.com) worked with Gartner Pro- ductions via agency Ogilvy & Mather to provide post and effects for a global UPS campaign. The project marked Ogilvy’s first effort for UPS, and Nice Shoes was involved early in the produc- tion process. Premise Setter and International Business feature UPS’s “That’s Logistics” track, which is a re-work of the classic tune “That’s Amore.” The spots combine live-action and animation/motion graphics created by Go Robot! to highlight the shipping giant’s global workflow. The campaign’s centerpiece is an upbeat :60 spot crafted in Chinese, Spanish, and American and British English versions. While the footage varies from one spot to the next, the basic set- up is the same: from an airport tarmac to soar- ing cities to bustling factories, UPS deliveryman hustle to bring packages to grateful customers. Nice Shoes colorist Chris Ryan says the stu- dio “had to color grade from myriad sources. It was a challenge to make stock footage match the specifically-shot footage and the archive footage provided by UPS.” Nice Shoes worked in Autodesk Flame to finish the spots in just one week. Editor Adam Liebowitz cut the spots for Go Robot!, with Craig Brasen and Jessica Falls as- sisting. Christian Matts and Eric Wagner pro- vided graphics. FIREWORKS IN 3D S CRASHRESEARCH N EW YORK— Visual effects and animation house Mecha- nism Digital (www.MechanismDigital.com) created graph- ics for two new Why Planes Crashspecials that will air on MSNBC. Produced by Peacock Productions, Why Planes Crash: Human Error and Why Planes Crash: Fire in the Skyfeature CG recreations of notable airplane accidents. In earlier work with Peacock, Mechanism composited anima- tions of 3D airplanes over live action backgrounds. On these more recent projects, 3D elements and backgrounds were built within the 3D space of Autodesk’s Maya software. By using the 3D environment, Mechanism animated the camera on all three axis of motion, eliminating visible photo and video edges. The programs feature approximately 20 different shots, aver- aging :20 each, demanding tremendous processing power. To meet the deadline, Mechanism relied on a recent upgrade to its renderfarm, which included quad-core processors with double RAM. The studio also made use of Creation Flow project man- agement software. Mechanism Digital’s Lucien Harriot was executive producer and visual effects supervisor. EW YORK— Click 3X (www.click3x.com) and its interactive division, Click- Fire Media, produced an integrated, stop-motion animated campaign for Lego Systems that is designed to help the toymaker launch a new online con- sumer experience. The :30 Build Together commercial encourages families to use their imagination when playing with Lego. The spot features two Lego characters on a camping trip in the Southwest. The figures reflect on their adventures, which included a close encounter with a buz- zard that swooped down to steal one of the figure’s hair. Luckily, a souvenir shop was close by and actually sold replacement headpieces. Lego Systems’ in-house creative agency approached Click to produce the TV/cinema spot. Click handled the post production and sound as well. The spot makes use of eight scenes, all created using stop-motion. Click 3X’s Mark Szumski was lead creative on the project, which was shot over an eight-day period. Canon 5D footage was imported to Szumski’s suite where he created test composites. The use of CG was kept to a minimum. Click 3X’s audio division, Sounds Like Click, composed the original music and sound design for the spot. ANTA MONICA— Visual effects house Entity FX (www.entityfx.com) provided services — in stereoscopic 3D — for the new Warner Bros. feature, Yogi Bear. The film combines live- action with CG elements, and was directed by Eric Brevig. Yogi and Boo Boo are voiced by Dan Aykroyd and Justin Timberlake, respectively. Entity FX created numerous elements that blend with the film’s live action, as well as some that make use of the 3D stereo environment, including a fireworks show that zooms toward the audience. The scene made use of Entity's in-house particle control system to generate photo- real pyro and smoke that match practical elements. The scene also required extensive green- screen compositing, sky replacement and adjustment of the live action to ensure left eye/right eye congruence and depth cue consistency. Entity FX used Silhouette for rotoscoping and Nuke for compositing. After Effects was used for additional compositing and clean up. Maya was used for modeling and animation, and Real D technology helped in dealing with stereo elements. Storage was handled via an Isilon system. www.postmagazine.com January 2011 • Post 43