Client: GVTC
Agency: Creative Noggin
Account Executive: Tracy Marlowe
Creative Director: Trish Rawls
Director: Murray Breit
Director of Photography: Zach Nasits
Senior Editor: Jeff Chesnut
Visual FX: Martin Jaeger
Colorist: Zach Nasits
Animation Director: Martin Jaeger
3D modeling/Animation: Jeremy Kenisky
Original Music: Keith Harter
Production Coordinator: Alycia Phair
Our recently completed multi-spot campaign for Valero Energy Corporation features some high-octane 3D animation and visual FX. In addition to shooting all the live-action and providing editorial, the post production required building a photo-realistic 3D modeled, textured, rigged and animated F/A-18 Hornet fighter jet like the ones used by the Blue Angels of the US Navy.
One of the first major challenges was rigging the aircraft to move realistically in the air. Yaw, pitch and roll become complex maneuvers when trying to manipulate a 3D model aircraft through a space that is relatively 10 – 100 – 1000 times larger.
Once the aircraft were modeled and rigged, the first step was to audition good live action cloud footage to use as backgrounds for our aerial shots. We had to find footage that matched the tone of our spot and that matched the direction and choreography we needed for each shot. We often had to try and color grade many different sources to make everything feel similar. After shots were chosen and processed we were able to start animating our 3D jets.
Visual FX progression of 3D animated F-18’s flying in formation over the cloud deck.
Final rendered and color-graded CGI shot as F-18’s break away from “camera” chase plane!
Based on the lighting in the cloud shots we had chosen, we constructed high dynamic range images and reflection maps to help light the planes realistically. We had to pull lighting information from cloud formations to try and understand things like sun direction and color temperature, as well as shadow information. Once the light rigs were constructed, we could drop our 3D planes into the scenes and they would naturally feel like they were part of the environment.
Anatomy of a visual FX shot showing progression from live-action plate, sky replacement and rotoscoped ground crew, to wireframe composition of F-18 and openGL shaded view.
Lighting was rendered in Autodesk Softimage XSI using Mental Ray and a combination of physical sun and sky data as well as our own HDRI, Final Gathering, and global illumination light setups. Using a proper linear workflow, we were able to get the compositors the most latitude with which to perform final color grade, cloud compositing and visual FX in post.
Finished rendered scene with environment lighting as F-18 undergoes preflight, control surface and systems checks.
On the shots of the plane taking off, we decided we didn’t want to use any stock selections. Trying to recreate the entire airport in 3D would not be as realistic as shooting accurate live-action plates.
Instead, we chose a local airport and researched photos of it with google earth. Knowing the orientation of the runway, the sun direction, and relevant distances, we were able to map out a plan of where and how to shoot a take off and runway taxi shot. We wanted to be sure to move the camera accurately as a plane would as it moves from 30 – 300 MPH. Once we had calculated the take off speeds and distances, we booked the airport and shot the plates on our RED Epic camera.
3D computer generated F-18 Hornet taking off from live-action runway plate shot. Note the atmospheric heat distortion visual FX from the afterburners.
In post, matching the live-action airport plates up to our rigged F-18 was now trivial. Because we had measured and done our homework, we simply plugged in the distances and numbers we had already chosen days before and the shot lined up nearly perfectly. With only a few details to iron out, we were able to exactly match the angle, FOV, and camera move perfectly and our plane dropped right into the scene. As part of the F-18 rig, we completely setup the landing gear to function accurately. This was done so that when the plane actually lifted off the ground, we’d get visual confirmation when the wheels and suspension dropped down and started to retract up under the plane.
For the cockpit shots, backgrounds and environments were completely synthetic. Our F-18 model featured a fully detailed interior so we were able to use it to place our pilot inside a true F-18 cockpit. This also made it easy to be sure the wings, flaps and tail surfaces were all placed accurately according to how they’d look from inside a real F-18 cockpit.
Wireframe view in Softimage XSI of fighter pilot in the cockpit, showing inverse-kinematics rigging, subdivided poly model and hardware shading.
Our pilot was modeled and textured inside Softimage XSI and once we combined him with a proper helmet, he was rigged to be able to move inside the cockpit. His entire upper body was rigged for full articulation but since we agreed we’d never see the underside of his body, we didn’t put any rigging in for it. We also rigged his entire helmet and face mask to accurately reflect his movement in the cockpit so the hoses and buckles would move realistically as he moved his head around. For this we used a variety of simple spline rigs and implicit shape deformers inside the enveloped model. It ended up being a fairly simple yet physically accurate solution.
Fully rendered final frame from the cockpit view of pilot. Cockpit glass reflections, atmosphere depth-cueing, image-based lighting, ambient occlusion and carefully textured materials really amp the realism.
Backgrounds for the cockpit shots were generated from a variety of aerial photography and maps. Horizons and skies were created with photos and color gradients in Photoshop. Visual FX such as passing through clouds and other atmospheric effects were created in After Effects and served to help layer the shot for additional realism.
HDRI and Mental Ray’s physical sun and sky shaders were again used to help light the pilot inside the canopy. We processed a variety of reflection and canopy distortion passes as well to correctly bend the light and reflections passing through. Sub surface scattering and architectural shaders rounded out the skin and helmet materials respectively.
This challenging project is a perfect example of the tight integration required between production and post, in order to pull off shots of this complexity. We are proud to have been entrusted to handle all aspects of production, design, visual FX and finishing for this terrific campaign.
Client: Valero Energy Corporation
Agency: 180
Director: Murray Breit
Production Manager: Fernando Cano
Director of Photography/Colorist: Zach Nasits
Senior Editor: Jeff Chesnut
Visual FX: Martin Jaeger, Jeremy Kenisky, Rudy Martinez, Joseph Schaertl
Animation Director: Troy Davis
3D modeling/Animation: Jeremy Kenisky
Technical Direction: Jeremy Kenisky
Production Coordinator: Alycia Phair
Client: Spurs Sports & Entertainment
Producer: Mike Kickirillo
Editor: Jeff Chesnut
Animation Director: Troy Davis
Animator/Modeler: Jeremy Kenisky
Compositor/Visual FX: Rudy Martinez
Client: Jefferson Bank
Agency: Texas Creative
Director: Brian Eickhoff
Copy Writer/Producer: David Parker
DP: Zach Nasits
Editor: Jeff Chesnut
Visual FX: Martin Jaeger
Account Manager: Margaret Oliver
Client: Phil Hardberger Park Conservancy
Agency: Guerra DeBerry Coody & Company
Director: Carey Quackenbush
Producer: Kim Arispe
DP: Zach Nasits
Editor: Joe Schaertl
Green is good. Recycling is a great way to reduce the negative impact we make on the environment. For many in San Antonio the choice to recycle was never an option. Apartment, condo and multifamily dwellers didn’t have a viable option when it came to recycling. Back on June 24th San Antonio City Council passed a 10 year Resource and Recovery Plan to “ensure that all residents in San Antonio have convenient access to recycling programs.” City of San Antonio Solid Waste Management chose Geomedia to produce a 30 sec TV commercial to introduce this new Plan to the city’s multifamily residents.
Inspired by the vision of Solid Waste Management Department’s staff, the resulting commercial is a straight-forward concept to get the recycling message out to San Antonio’s new recycling participants.
On first glance the spot looks simple enough. But actually there are quite a few of visual effects, compositing elements and rotoscoping techniques used throughout the commercial. We think the best effects are the one that aren’t noticed.
We recently wrapped up a 6-spot television and web campaign for University Health System, through agency Creative Civilization, highlighting “Living Proof” of the medical miracles occurring every day at University Hospital.
This years’ production featured live action with testimonials and personal accounts from the hospital’s patient, doctors, and staff. Through extensive research and hard work, agency Executive Creative Producer Joseph Guerra and senior Creative Director JC Cody felt all the stories were unified in that each of the patients’ testimonies were stories of survival, real-life examples of “Living Proof”.
The project presented challenging logistics from a production standpoint, but our talented team conquered each situation along the way. With only 8 days to prep the project we were able to successfully complete a three-day shoot on a schedule that more realistically should have required four or five days.
Our filming location was an ever busy city hospital so plans were often redirected as the next scene might included a doctor that would be unexpectedly unavailable “saving someone’s life” or our location needed to move since a surgery took longer than anticipated. Needless to say, our set wasn’t always a controlled environment and our AD team worked the schedule constantly to ensure that our shoot was successful.
We completed over 37 live action scenes with uncompromised blocking and lighting setups. ER’s, OR’s, research labs, MRI Labs, heli-pads, hospital exteriors, common areas, hallways, waiting rooms, limbo interview sets, designed home interior sets… You name it we shot it all at the University Hospital.
In addition to production, and integral to the success of the campaign, we also handled HD post production in-house. Creative editorial, color grading and subtle visual FX heighten the emotion of the poignant narratives, which culminate with “living proof” of each story’s happy conclusion.
So this one goes out to the entire production crew, AD, agency CD’s AE’s, etc. post production artists and the marketing team at University Hospital, who all made it possible.
Hope you like these commercials. Watch the the rest of them here.
When teams broke training camp this spring, the Hooks, Corpus Christi’s minor league baseball team and Double-A affiliate of the Astros , had visions of a competitive season and a new creative approach for their broadcast ad campaign.
Teaming up with Creative Director and Principal, Stephen Rybak of mdr, Geomedia produced a 30 second photography-in-motion spot that captures the atmosphere and excitement of a day at the ballpark.
Drawing inspiration from a storyboard concept and subsequent animatic designed by Geo’s Art Director, Martin Jaeger, we traveled to beautiful Corpus Christi and Whataburger Field where Director of Photography, Zach Nasits, and crew captured still sequence scenes of players, fans and stadium details to be incorporated in the final spot.
Geomedia Motion Graphics Designer and Editor, Joe Schartel, blended together 2D and 3D animation elements, composting techniques and organic transitions to take the viewer on a fast-paced journey of the sights and sounds of a Hooks game.
It was the agency’s vision to highlight the many areas of interest found in and around Whataburger Field. The spot is filled with an abundance of iconic ballpark imagery, like Hook’s mascot Sammy Seagull, the swimming pool just beyond the right field fence, the majestic Harbor Bridge and many other unique amenities that make a Hooks game a fun family destination.
Related link: Corpus Christ Hooks Facebook Page
Client: American State Bank
Agency: Creative Civilization
Project: “ASB Goodcents” Broadcast :30
Director: Murray Breit
DP: Zach Nasits
Editor: Jeff Chesnut
Visual Effects: Martin Jaeger
Working with our extraordinarily talented family and friends at Spurs Sports and Entertainment (SSE) throughout the 2010-11 NBA Season has been a truly incredible experience for all of us at Geomedia.
Starting with our very first meeting, through our live-action shoot featuring all the players, to the very latest delivery, collaborating with the Spurs organization has been nothing short of a first-class experience.
Throughout the year we’ve had the opportunity to create a vast and diverse collection of showcase pieces for the Spurs. From player introduction videos for the AT&T Center Lighthouse Jumbovision and in-arena LED content, to broadcast graphics, playoff intros and more, we’ve thoroughly enjoyed being a part of the team.
Every step of the way… Concept, creative direction, live-action shoots, audio, editing, visual effects, animation and revisions, they’ve collaborated with us and motivated us to produce the best work possible.
What can we say, this is simply an amazing organization of consummate pros. On behalf of all of our staff and crew, thank you SSE for choosing to work with Geomedia.
GO SPURS GO!