Post Magazine

February 2015

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Page 45 of 51 44 POST FEBRUARY 2015 POSTINGS SURVIVING TOGETHER NEW YORK — Creative production company, Shilo ( and director Jose Gomez recently collaborated on a trailer for the return of AMC's The Walking Dead, which features a good portion of the show's cast fi ghting an unknown enemy through a thick mist in the woods. A voiceover in the trailer by Andrew Lincoln's character, Rick Grimes, supported by a soulful score composed by Patrick Watson, states "Sur- viving — surviving together is all that matters." Shilo, lead by executive producer Cary Flaum, did everything, from concept to shooting live action with two Arri Alexa cameras, to post. Shilo added extra mist in post along with small gun barrel muzzle fl ashes. The studio relied on Flame for composting and Adobe Premiere for ed- iting. Color correction was completed by Company 3's Tom Poole using DaVinci software. JIMMY KIMMEL LIVE SAN RAFAEL — Industrial Light & Magic ( collaborated with ABC's Jimmy Kimmel Live (JKL) to create a new open for the late-night show. The open highlights the vibrant energy and sights of Hollywood, the home of Jimmy Kimmel Live, and begins with Kimmel taking the audience on a cine- matic journey among city landmarks. ILM VFX supervisor Richard Bluff oversaw the design and production of the open, working closely with show producer Tony Romero, the JKL team, ILM art director Cody Gramstad, and the Denmark-based studio, Ghost (www. ILM and JKL decided which landmarks to include and how the cam- era would interact. ILM then worked with Ghost to create the VFX, color, com- positing and fi nishing on all the animation moves and background elements. The live action shots of Kimmel were done at JKL and then composited at ILM/Ghost. Shots were animated in Maya, rendered in Octane, and composited in Nuke. All of the street element are CG. None of the buildings are practical. INVISIBLE TRUCK NEW YORK/LOS ANGELES — To introduce the new Toyota Tacoma at the 2015 Detroit Auto Show, the automaker and longtime agency partner Saatchi & Saatchi called on Carbon VFX ( to create a visual- ly-dynamic spot, Invisible Truck, featuring an invisible car. Instead of relying on heavy visual eff ects, the team, headed by co-director/creative director Chris Noellert, decided to focus on visual environmental cues that suggested the presence of the vehicle. Moving from concept to reality proved challenging as it rained the days leading up to the shoot, making the ground soggy and not ideal for the type of footage the crew needed. Carbon leaned on both practical and visual eff ects, augmenting the landing with dust elements and topping off the shot with a few layers of debris splattering the lens. The team also used CAD data of the Tacoma and simulat- ed its movement at diff er- ent speeds and slopes to get a sense of how dirt and debris would move in the real world. For the realistic airborne dust particles and sand explosions, Carbon used Maya and Houdini for CG and Flame, and Flare for compositing. The shoot took place over three days, followed by three weeks of post. Frequent collaborator Josh Bodnar, of Whitehouse Post, edited the spot. POLAR VORTEX CULVER CITY, CA — The Jeep brand recently kicked off a new campaign to coincide with ESPN's X Games Aspen 2015. To pull off the :30 TV spot, Polar Vortex, along with print, digital, social and experiential extensions, Jeep col- laborated with agency Doner Partners and creative house Zoic Studios. Zoic created wintry VFX for the Wrangler X Edition spot, which was directed by Loni Peristere through Bandito Brothers. This included a comprehensive blend of VFX, editorial, color grading and fi nishing. The spot was shot in Telluride, CO, giving them a base of practical snow. Zoic created the CG cyclone in post. They lit and rendered in Maya, VRay and Krakatoa, and composited everything using Nuke and Flame. For the elemental VFX, they relied on a combination of Phoenix FD, Maya Fluids, Maya Particles and Houdini. In addition to the snowy cyclone, Zoic also crafted snow surround- ing the tires, fl ying chunks of ice, aerial clouds and skies. They leveraged a mixture of matte painting and 3D eff ects to achieve the look.

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