DD Uses Performance Capture To Bring CG Dancers To Life.
CLIENT
Coca-Cola.
PRODUCTION CO.
Bruce Dowad Associates, Hollywood. Bruce Dowad, director; Bojan Bazelli, DP; Heidi Nolting, executive producer; Suzie Greene Tedesco, producer; Stephanie Evans, production manager. Shot on stage at Digital Domain, Venice, Calif., and on location.
AGENCY
Edge Creative, Santa Monica. Shelly Hochron, Len Fink and Jack Harrower, creative directors/copywriters/art directors; Nicolas Hippisley-Coxe, executive
producer; Fiona Forsyth, producer; Maryam Ebrahimi, assistant producer.
EDITORIAL
King Cut, Los Angeles and Santa Monica. Enrique Aguirre, editor; Dayna Cernansky, assistant editor.
POST
Hollywood Digital, Rob Sciarratta, colorist; Brian Robinson, Fire editor.
VISUAL EFFECTS
Digital Domain. Patrick Davenport and Julian Levi, producers; Kelly L’Estrange and Allyse Manoff, production coordinators; Bob Oschack, production assistant; Andy MacDonald, visual effects supervisor; Daniel Loeb, animation supervisor; Andre Bustanoby, performance-capture supervisor; Bernd Angerer, lead animator; Vernon Wilbert, lead technical director; Jon Aghassian, Mike Amron, Mark Brown, Spencer Cook, Leiff Einarsson, Robin Finn, Kseniya Hoppe, Keith Huggins, Kevin Jackson, Giancarlo Lari, Patrick Lowery, Howie Muzika, Melanie Okamura, Brad Parker, Chris Roda, Randall Rosa, Atsuko Shindo, Toshi Shiozawa, Keith Smith, Gaku Tada and Keiji Yamaguchi, digital artists; Jean-Luc Azzis, Rick Dunn, Peter Jopling, Scott Rader, Donovan Scott and Perri Wainwright, compositors; Tom Dilligan, software support; Martha Mack, Lillian Jacobs, Renee Rabache, Tony Halawa and Tonia Young, texture painters. House of Moves, Venice. Tom Tolles, motion-capture supervisor; Jarrod Phillips, motion-capture producer; David Ahdoot, motion-capture specialist.
AUDIO POST
RavensWork, Venice. Eric Ryan, mixer.
MUSIC/SOUND DESIGN
Elias Associates, bicoastal. Jonathan Elias, creative director; Chip Jenkins, composer; David Gold, sound designer.
BY CAROLYN GIARDINA
Digital Domain (DD) has again used performance capture–the technique the Venice, Calif.-based visual effects house first incorporated into its commercial repertoire with Nike’s “Virtual Andre,” directed by bicoastal RSA-USA’s Allan Van Rijn via Portland, Ore.-based Wieden & Kennedy–this time to push the commercial envelope in “Jitterbug” for Coca-Cola.
Directed by Bruce Dowad of Bruce Dowad Associates, Hollywood, for Edge Creative, Santa Monica, the spot combines 18 individual CG characters.
The spot begins with a zoom into a Coca-Cola billboard on the side of a city building. The characters in the painting–restaurant patrons, band members and waiters–come to life, dancing the jitterbug while enjoying Coca-Cola.
Jack Harrower, one of Edge’s creative directors on the spot, said the agency was “looking for [ways] to show the product in an entertaining way, in a natural environment. We looked at a lot of footage, [and the jitterbug] brought a smile to people’s faces.”
“The notion,” related Dowad, “is that they [the characters in the painting] move with a sensibility that was fairly true to human nature, and that’s why we went with motion capture. The nuances of body movement would be truer to life.”
“It’s about characters interacting,” agreed Andre Bustanoby, DD’s performance-capture supervisor. “It had to be somewhat realistic. … We [also] had to come up with a method that fit the schedule [about 10 weeks] but had a compelling look.”
On DD’s stage Dowad directed–with the help of a choreographer and the visual effects team–seven performers, who portrayed the dancers, musicians and waiters in the sequence. Motion-capture data was collected from these performances.
Bustanoby noted that performance capture preserved the language of filmmaking, allowing Dowad “to direct, to block in a way [directors] are totally used to.”
This marked Dowad’s first experience using performance capture. He said he found the technique incredibly easy to work with. “There is no lighting or staging. You’re focusing on the performance,” he explained.
Dowad noted that in this environment, his role combined the responsibilities of a director, designer, adviser and choreographer, but he emphasized that the project was a strong team effort.
“From my point of view, this is Digital Domain’s piece,” he added, praising the company for its “refreshing enthusiasm and dedication.”
DD used its proprietary Moedit software to bring the raw motion-capture data into Softimage|3D, the primary animation tool, Bustanoby explained. Maya was used for modeling, Renderman for rendering, and Flame for compositing. To create the clothing simulation, DD used Playa del Rey, Calif.-based Reflection Fabrix’s Fabrix plug-in for Softimage|3D. Some proprietary tools were also incorporated into the pipeline.
Dan Loeb, animation supervisor at DD, explained that the basic animation process is something DD has dubbed “rotocapture.” Essentially, data came into the Softimage|3D environment as a sort of “skeleton,” which was then animated by hand using key frames. The motion-capture data was only used as a reference point.
“The director wanted to go beyond what the dancer can do,” Bustanoby noted. “They [the characters] have a painterly, quasi-real aspect … a sense of realism, but not verbatim.
“The way we used [performance capture] engaged the director, and the animators still [got to contribute creatively],” Bustanoby said, noting that they worked extensively on aspects such as facial animation.
“This is the kind of animation that’s a little different from what we’ve done here previously,” Loeb added, citing “the vigor and athleticism that were required to be communicated.”
The animation was created using a low-res model, then copied onto a high-res model, which was then textured and rendered.
Loeb said the project was “the most rewarding experience I’ve ever had with a director. … Bruce came in with a strong vision.” He said Dowad presented extremely detailed storyboards prior to the shoot, and then “he gave us the opportunity to fill in the gaps and collaborate with him.”
The spot was edited by Enrique Aguirre of King Cut in Santa Monica and Los Angeles who also worked closely with DD.
Harrower praised the entire team’s dedication, especially that of Dowad and the DD crew: “They worked around the clock.”
The music, influenced by the big band sounds of the ’30s and ’40s, was composed by Chip Jenkins of bicoastal Elias Associates.
Acknowledging an increased interest in swing, Harrower said “Jitterbug” was already in production when another swing-based spot for The Gap broke. The spot, “Khakis Swing,” was directed by Matthew Rolston of bicoastal Venus Entertainment (SHOOT Top Spot, 5/15, p. 14).
Harrower commented, “I’ve always liked that music and that period.”
***
SPANK! Chases Away Thirst With Gatorade
CLIENT
Quaker Oats/Gatorade Frost.
PRODUCTION CO.
Sticks And Stones, Santa Monica. Blair Hayes, director/DP; Jonathan Weinstein, executive producer; Lexy Godfrey, producer. Shot on location.
AGENCY
Foote, Cone & Belding, Chicago. Tom Mackechney, creative director; Jim Bohan, art director; Marisa Basta-Brown, copywriter; Colleen Dirsmith, producer.
EDITORIAL/POST
Optimus, Chicago. Scott Taradash, offline editor; Mike Weber, online editor; Maura Corey and Daphne MacDonnell, assistant editors; Craig Leffel, colorist; Julia Finlayson, producer.
VISUAL EFFECTS
Pacific Data Images, Palo Alto, Calif. Cliff Boule, director of animation; Peter Plevritis, technical supervisor; Cindy Cosenzo and Les Hunter, senior producers.
AUDIO POST
Chicago Recording Company. Mike Mason, mixer.
MUSIC/SOUND DESIGN
SPANK! Music and Sound Design, Chicago. Greg Allan, composer/producer; Alan Howarth, sound designer.
THE SPOT
In the :30 “Who’s Bad Now?” a runner is pursued across Australia’s Sydney Bridge by a CGI beast, after which he quenches his thirst with Gatorade Frost.
Spot broke June 1.
***
Kondor Twists
For Armstrong
CLIENT
Armstrong World Industries/Armstrong Vinyl Sheet Flooring.
PRODUCTION CO.
Plum Productions, Santa Monica. Eric Saarinen, director/DP; Chuck Sloan, executive producer. Shot on location.
AGENCY
BBDO New York. Rich Pels, creative director; Andy Knipe, art director; Tommy Henvey, copywriter; Gene Lofaro, producer; Loren Parkins, music producer.
EDITORIAL
Crew Cuts, New York. Clayton Hemmert, editor.
POST
Nice Shoes, New York. Ed Patrowicz, online editor; Chris Ryan and Scott Burch, colorists.
VISUAL EFFECTS
Quiet Man, New York. Johnnie Semerad and Philana Dias, effects artists.
AUDIO POST
East Side Audio, New York. Tom Jucarone, mixer.
MUSIC
Robbie Kondor Music, New York. Robbie Kondor, composer; Bob Montero, producer.
SOUND DESIGN
Pink Noise, New York. Marshall Grupp, sound designer.
THE SPOT
In the :30 “Twister,” a woman rushes into her house as a tornado sweeps into the home and wreaks havoc in her kitchen, opening the refrigerator and spilling the contents onto the Armstrong floor. The “twister” turns out to be her messy young son. Cleanup is easy, however, thanks to Armstrong Vinyl Sheet Flooring. The spot ends with another tornado hitting–the family dog.
Spot broke May 4.
***
Charlex Opens Up A Ford Scrapbook
CLIENT
Ford Motor Company.
PRODUCTION CO.
Live action by radical.media, New York. Lenard Dorfman, director; Tony Wolberg, DP; Jon Kamen and Robert Fernandez, executive producers; Chris Rouchard, producer. “Ford book” production by Charlex, New York. Alex Weil, director; Kevin Jones, DP; Amy Kindred, executive producer; Marlene Kawaleck, producer. Shot on location.
AGENCY
Ogilvy & Mather, New York. Rick Boyko, chief creative officer; Daniel Gregory, creative director/copywriter; Ross Sutherland, executive creative director; Grant Parrish, associate creative director/art director; Bob Cagliero, producer; Richard Bonner-Davies, Timothy Jones and Mark Linder, managing partners.
EDITORIAL
Ohio Edit, New York. Frank Snider, editor; Jamie Nagler, assistant editor; Marybeth Medernach, producer.
POST/VISUAL EFFECTS
The Tape House Editorial Company, New York. John Dowdell, colorist on “Ford book” segment of spot. Nice Shoes, New York. Scott Burch, colorist on live-action portion of spot. Charlex. Alex Weil, director of visual effects; Amy Kindred executive producer; Jason Mayo, associate producer; Greg Oyen, Flame/effects artist; John Zawisha, online editor; Joe Rappa, assistant editor.
AUDIO POST
Howard Schwartz Recording, New York. Steve Rosen, engineer.
MUSIC
Crushing Music, New York. Morgan Visconti, composer.
THE SPOT
“Safety” focuses on the scrapbook of Dennis Porter, an employee at Ford’s “dummy” lab. “Environment” showcases Ford employee Nicola Wager, who builds Ford engines in Wales. The :30 features shots of the picturesque countryside as well as Wager working in the Ford plant.
Spots broke May 6.
***
Jigsaw Sees Pigs Fly For Balance Bar
CLIENT
Balance Bar.
PRODUCTION CO.
Fahrenheit Films LA, Santa Monica. Justin Klarenbeck, director; Mike Ozier, DP; Greg Pappas, executive producer; Daniel Stuart, producer. Shot at the Paladin Stage, Los Angeles.
AGENCY
Buckley/Friedman, Costa Mesa, Calif. Shawn Buckley, president; Garret Davenport and Joseph Santiago, creative directors/art directors/writers; Chantal Houle, producer.
STOCK FOOTAGE
Blue Sky Stock Footage, Beverly Hills, Calif. Cameron Productions, Seattle.
EDITORIAL
Jigsaw, Santa Monica. Brad Wetmore, editor; Andy Charlton, assistant producer; Deanne Mehling, executive producer; Megan Dahlman, producer.
POST
POP Television, Santa Monica. Rob Lingelbach, colorist. Ring of Fire Advanced Media, West Hollywood. Mark Zarate, online editor.
VISUAL EFFECTS
Ring of Fire Advanced Media. Mark Zarate, effects/Henry artist; Tim Bird, Flame artist; John Myers, executive producer.
AUDIO POST
Margarita Mix, Hollywood. Jimmy Hite, mixer.
MUSIC
Gary Myrick, composer, Sherman Oaks, Calif.
SOUND DESIGN
Jigsaw. Brad Wetmore, sound designer; Andy Charlton, assistant.
THE SPOT
The :30 “Flying Pigs” takes place in the cockpit of an airplane. The pilot mentions that he hopes the airline food is decent during the long flight. The co-pilot suggests a Balance bar as an alternative, with the skeptical pilot saying, “When pigs fly.” At that point, the pilot and co-pilot notice a squadron of pigs flying by the pilot’s window.
Spot broke May 14.
***
Lovinger/Cohn Goes To Mexico For Sprint
CLIENT
Sprint.
PRODUCTION CO.
Lovinger/Cohn & Associates, New York. Jeff Lovinger, director; Jack Donnelly, DP; Andrew Adelson, executive producer; Sheila Mahoney, producer. Shot on location.
AGENCY
Hal Riney & Partners, San Francisco (now PublicisHal Riney). Jerry Andelin, creative director/art director; Diane Hill and Debbie Chin, producers; Paul Mimiaga, copywriter.
EDITORIAL
Lost Planet, Santa Monica. Keith Salmon, editor.
POST
New Approach Film Video, New York. Vinnie Gelo, colorist. The Finish Line, Santa Monica. Stan Kellam, online editor.
AUDIO POST
Margarita Mix, Hollywood. Jimmy Hite, mixer.
MUSIC
Jed, Los Angeles. K. Mansfield, composer.
THE SPOT
While waiting for her flight to take off, a woman tries to break up with her current boyfriend over a cellular phone in the :30 “Mexico.” Finally, her new beau, seated beside her, hands her his Sprint cellular phone. “I’m going to Mexico with Brad,” she states, immediately clarifying the situation.
Spot broke May 18.
***
Headquarters Tees Off With Visa
CLIENT
Visa USA.
PRODUCTION CO.
Headquarters, Santa Monica. Robert Black, director; Peter Mackay, DP; Alex Blum, partner/executive producer; Tom Mooney, partner/director of sales; Andrew Denyer, head of production; Barbara Baumann, line producer; Mark Walejko, production supervisor. Shot on location.
AGENCY
BBDO New York. Charlie Miesmer, vice chairman/senior executive creative director; Jimmy Siegel, senior VP/creative director; Rick Hanson, senior VP/associate creative director; David Frankel, senior VP/associate director of TV production; Jordan Allen, writer; Meredith Ackley, art director.
EDITORIAL
Crew Cuts, New York. Chuck Willis, editor; John Young, Colin Wolf and Chris Keenen, assistant editors.
POST
POP Television, Santa Monica. Wayne Hampton, colorist. Nice Shoes, New York. Ed Skupeen and Eric Gelgand, online editors.
AUDIO POST
Buzz, New York. Michael Marinelli, mixer.
MUSIC
Sicurella & Associates, New York. Joe Sicurella, composer.
THE SPOT
The :30 “Higher Learning” visits the Nicklaus Flick golf school where they only accept Visa.
Spot broke in Ma
