Mercedes’ new EQ fleet needed a visual language just as bold as its models for a launch during the iconic Masters Tournament. No one better suited than Cokau, the directorial team of Achille Coquerel—a former chief editor—and Thomas Kauffman—a former motion designer.
The brief: to portray the cars accelerating through naturalistic tunnels of long-exposure light. But shooting high-speed vehicles in long exposure on location was incompatible with the level of detail and high-fidelity premium feel that we were looking to achieve.
Our solution for the majority of the spots was to bring the EQ fleet to one of the most technologically advanced volume stages in the country. The environments were created in Unreal and displayed on the volume, to achieve a seamless atmospheric view. Road and wheel replacement was augmented in CG. Each shot was imbued with gravity-defying dynamism and fluidity, while a distinct palette of colored light helped differentiate the models while accentuating form and features of the cars.
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Credits
AGENCY - MERKLEY + PARTNERS CEO, Alec Gellert; CCO, Chairman, Andy Hirsch; ECD, Chris Landi; ECD, Kirk Mosel; Group Creative Director, Drummond Berman; Creative Director, Greg Wells; Director of Broadcast Production, Alex Kobak; Director of Business Affairs, Pam Carden; Senior Producer, Scott Mushinskie
PRODUCTION COMPANY - CASEY Directors, Cokau; Executive Producer/ Managing Director, Patrick Casey; Producer, Lawrence T. Lewis; Head of Production, Caroline Klimerman; DOP, Chris Probst; Production Manager, Helen Urriola; 1st AD, Devaughn Hughson
EDITORIAL - ROAM Managing Director/Owner, Krystn Wagenberg; Executive Producer, Wendy Rosen, Editor, Michael Elliot; Sr Assistant Editor, David Bryen
VFX - ARTJAIL LA & NY MD/EP/Partner: John Skeffington; Head of Production NY & LA, Elizabeth Thuvanuti Keating; Senior Producer, Adriana Wong; Production Coordinator, Niabi Caldwell; Founder/Executive Creative Director, Steve Mottershead; VFX Supervisor/2D Lead, Christoph Schröer; Head of 3D, Jackie Liao; Shoot Supervisors, Christoph Schröer, Jackie Liao; 2D Artists: Dirk Riesenfeld, Fred Kim, Eric Concepcion, Marco Baratto, Min Hwa Jung, Ting-Jung Hsu, Chris Russo, Adam Schwartz; 3D Artists: Anthony Thomas, Weichieh Yu, Sandor Toledo, Jonathan Li, Ryan Taylor, Patrick Manning, George Arnold Concept Design: Bryant Grizzle Senior Data Tech: Shawn Schminke Data Tech: Chenelle Damas
COLOR - COMPANY 3 Color Producer, Shannen Troupe; Colorist, Sofie Borup
When OddBeast landed the opportunity to produce this year’s opening film for Half Rez, the Midwest’s largest celebration of design and motion graphics, the studio approached the challenge by embracing discomfort. The goal was to visually express the collective anxieties of creatives facing an uncertain future as emerging tools and technologies reshape their industries.
OddBeast Executive Creative Director Kevin Gautraud took the lead on the project’s vision and 3D animation: “I chose to ground the short in responses particular to fears about making a living in today’s creative fields where the rate of change feels insane at times, overwhelming artists with existential questions. Sometimes, ‘I don’t know’ is the most truthful answer anyone can give,” he said.
In creating the film, Gautraud tapped into his own response to such anxieties: a meditation on the vastness of time and our small moment in the light, ponderings that bring him perspective, calm and creative inspiration. Powerful visuals of barren yet eerily majestic landscapes take us back to Earth’s origins, giving way – in the film’s final seconds – to the explosion of life – our blip in the planet’s unfathomable journey. Add the ethereal sound design of Bent Stamnes, and the result is a sense of awe, as everyday problems suddenly seem smaller.
“For this project in particular, I was inspired by Carl Sagan and his own personal philosophy. He was awestruck at the grandeur of nature, curious about the origin of life, and humble about the extent of human knowledge,” Gautraud explained. “It's about making people feel small, strange and somehow okay with that.”
Gautraud used a range of tools to give his concept life, including... Read More
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