If an SUV could dream, what would its fantasy be? Running errands in suburbia, stuck in traffic on the freeway? Not likely. The creative team at Rubin Postaer and Associates, Santa Monica, proposes that the Acura MDX would yearn for vast deserts and rocky forest floors in the :30 "Wilderness," which is directed by Bruno Aveillan of bicoastal/international Believe Media.
"Wilderness" opens with an invisible MDX racing through the desert, leaving tire tracks and clouds of dust in its wake. Then the ghost cruises through a pool of water. It arrives in a forest, where leaves are scattered by its presence, and a bewildered fox leaps away from the unusual force.
The ethereal vehicle ultimately reaches a clearing surrounded by lush hills, where it traverses a small lake. Geese appear to fly above the bucolic setting, but the next shot reveals that the geese are actually flying over an Acura MDX that is stuck in city traffic, their image reflected in the vehicle’s windshield. Suddenly, the peaceful sounds of nature are replaced with honking horns, as a voiceover states, "The 265 horsepower Acura MDX. Gets hearts in the right place—even if you’re not."
INTO THE WOODS
"Wilderness" highlights the typical use of SUVs in urban environments, creative director Mark Erwin explained. The vehicles are capable of tackling challenging terrain, but often only see paved roads. "You wish you could take advantage of all the features and be out in the incredible wilderness, but the reality is you can’t," he noted.
This spot, however, focuses on the car rather than the driver, agency producer Shelley Eisner pointed out. "It’s about the car dreaming that it was somewhere else," she said of the concept. "We gave [the SUV] a soul, and the car wished that it was out in these great landscapes."
The dream sequence required an invisible MDX because an object can’t be in two places at once, Erwin explained, so the creative team at Rubin Postaer decided to illustrate the SUV’s spirit.
The foundations of the effects were practical, according to Erwin and Eisner. Aveillan’s team orchestrated a variety of stunts while on location in California. Effects supervisor Xavier Leconte of Wizz, Paris, was also on set, since the effects would have to be enhanced in post.
To achieve the tracks on the desert floor, Eisner related that Aveillan created rubber tracks, which he placed under the soil. Then, as the camera moved over the designated path at about 25 miles an hour, he blew the dust away to reveal the impressions.
To make it appear as if a vehicle really were driving through the pond, Aveillan executed a "reverse blue screen," Erwin said. The director painted an MDX blue—from the windshield to the tires—leaving a tiny slit of clear glass through which the stunt driver could see. This enabled the removal of the vehicle in post.
On why the agency chose Aveillan to helm the spot, Eisner said he was attracted to the director’s affinity for nature and organic filmmaking. Erwin added, "There are some very talented special effects directors out there, but Bruno’s work is so heartfelt and beautifully cinematic."
Postproduction was an international affair involving Wizz; The Moving Picture Company (TMC), London; and Spot Welders, Venice, Calif. Editor Frédérique Olszac of Wizz cut the spot at Spot Welders, as well as in Paris. Spot Welders editor Scott Chestnut and assistant editor Erik Barnes also participated in editing the work. IT manager Alex Israel of Spot Welders facilitated the international post process, enabling Olszac and Aveillan to continue editing when they returned to Paris.
Credit at Wizz also goes to postproduction supervisor Matthieu Poirier. At Spot Welders, additional credit goes to postproduction supervisor Lisa English and executive producer David Glean. Jean-Clement Soret was the colorist at TMC.
Aveillan also shot "Traps" as part of the MDX package. It is set for theatrical release in December or January.
