Issue link: https://digital.copcomm.com/i/477283
www.postmagazine.com 36 POST MARCH 2015 POSTINGS GIVE LUCI NEW YORK — Agency FCB Garfinkel, in collaboration with design/anima- tion company The Studio (www.studionyc.com), music house Found Ob- jects and the Luci inflatable solar light by Mpowerd Inc., shines a spotlight on energy poverty in a powerful, new animated PSA entitled Give Luci. The PSA follows a young child's journey and showcases the importance of access to energy. Inspiration for the piece came from a number of influences, including shadow puppets, zoetropes, paper animation and even a little bit of Disney. Led by The Studio creative director Mary Nittolo, the dream sequence is the heart of the piece, visually depicting what happens when you read and how your mind wanders. The section was created in 3D using Maya and After Effects. The most challenging part was coming up with the ani- mation style. The Studio's Gary Giambalvo was EP on the piece. Kathleen Sobr served as producer and Eric Kilanski was 3D artist/CG lead. NO EXCUSES AND SOMEPLACE NEW LOS ANGELES — A new integrated campaign for Expedia recently made its was across the US from advertising agency 180LA. The TV/online spots, No Excuses (:30) and Someplace New (:15), both directed by Cap Gun Collective (www.capguncollective.com) director Tom Haines, were aimed at enticing viewers to seize the day and take the trips of their dreams. The campaign is set in and around Tokyo — including inside the city's iconic Robot Restaurant. With Tokyo as the campaign's hero, Cap Gun executive producer Jason Botkin, Haines and crew, including DP Steve Annis, made the trip and dialed-in a fast-moving production schedule with their principal talent and lots of color- ful locals, spending two days capturing footage on an Arri Alexa Plus. One of the challenges was to make each scene look inviting and realistically different. Cap Gun focused on maintaining the detail in each scene, so it was important to make the different looks subtle. Dave Groseclose edited the project on Final Cut Pro 7 and The Mill's Adam Scott handled final color on Baselight. MED MONTREAL — The new comedy series MED premiered earlier this year on Canada's VRAK 2 and outlines the antics of an insolent youth, his two insep- arable friends and eccentric parents. Looking to appeal to an impressionable teenage audience, producer KOTV and director François Bégin called on Slik's colorist Mathieu Marano to dial in the urban, edgy, cool factor. The team provided clear guidelines concerning lighting adjustments to DP Jean-Philippe (Parish) Pariseau's footage, which was shot on Arri Alexa Pro- Res 4444. The tone of each scene had to be set using nuances of shades and color, which also served as a function to unite the various sets in the series. To achieve the edgy look, Mathieu integrated the LUT support directly in the SGO Mistika's color grade effect by using an old Kodak film LUT applied on the LogC footage. This base look was then worked with secondary grad- ing so that it could be used on interior and exterior scenes with only minor tweaks. Mathieu also relied on masks and range controls to adjust and even out the varying skin tones of the three main actors, who are often together. BENEATH THE SURFACE LOS ANGELES — To promote the new Chrysler 200, Wieden+Kennedy Port- land partnered with Stopp (www.stopp.com) and MPC Creative (www.mov ing-picture.com) to deliver an interactive, photoreal VR experience in the four-minute Beneath the Surface. Using the latest Oculus Rift DK2 headset, users are immersed in a beautiful rendering of the Chrysler 200 and taken on an A/V tour of the car and its high-tech facilities. The creative challenge was to maintain maximum visual quality while recreating the classic "exploded car" familiar in so many commercials. In- teraction with the pieces is realtime and allows the viewer to cue additional immersive content. In a project that spanned both its NY and LA studios, MPC (lead by executive producer Tim Dillon) worked closely with W+K and Stopp (lead by creative technologist Ola Björling). Chrysler supplied a CAD model, which MPC rebuilt to fall within the constraints of the game engine using Maya and V-Ray.