August 23, 2007

Framestore CFC Works on Smirnoff Shot

A Russian fishing trawler trudges through a foggy, mill-pond flat sea. A work-stained fisherman on a break takes a last swig of his drink and reflexively crushes the can and hurls it into the sea. He turns and starts to walk away when the can flies back out of the water, hitting him. He peers into a now roiling ocean, and sees mysterious objects glittering and moving beneath the surface.
The first scene of "Sea," the new Smirnoff spot created by J Walter Thompson and directed by Daniel Kleinman, sets the tone for a commercial reminiscent of Close Encounters-era Spielberg. The spot's breathtaking postproduction was created by Framestore CFC.
The spot moves move from the trawler to the sight of countless coins unearthing themselves from the seabed, flying out of the water, and showering down onto beaches. As the scale of the events, we are witnessing notches up, we see aircraft lifting themselves out of the water, joined by shipping containers, and ancient monumental statuary, all of them spinning into the sky and crashing into shoreline heaps of deep-sea detritus. As the spot reaches its climax, enormous sea vessels -- including a gigantic modern battleship -- are ejected from the sea. The camera then pans across and traverses a newly cleansed, unbelievably crystalline ocean, and the words "Extraordinary Purification" appear over the shot. As we dip down below the surface and skim over the laundered sea floor, the words "Ten Times Filtered" and "Triple Distilled" follow, with "Clearly Smirnoff" flashing up as we reach a bottle of  Smirnoff.
With Daniel Kleinman in the director's seat, his long time Framestore CFC associate, William Bartlett, was the natural choice for VFX Supervisor on "Sea." "The shoot took place over a couple of weeks in February 2007," recalls Bartlett, "mostly on the Coromandel Peninsula, close by Auckland, New Zealand. It's a great area for this sort of project, where you're trying to give the impression of numerous global locations -- it's like a Hollywood lot for the world."
Further shooting also took place in the UK, most obviously for the shots of the White Cliffs of Dover. The 3D team, led by Dan Seddon, had already started work on the numerous models that would be needed, including the battleship, Spitfires, a Lancaster bomber, Spanish galleons, a Viking longship, and other bits and pieces. "Because a lot of the animation was basically static objects spinning around," Bartlett continues, "For a lot of it we set up the cameras in Flame, pre-vizzed lots of things in there, and then exported the set-up to 3D. This was done on even very complex shots, such as the end one, where we go past the cliff and then dive under water to where the bottle lies. For that one we had a live action plate of the cliff, which we tracked. We then made a rough model and re-projected the live action footage onto that in order to change the camera move. We made all the bits for the undersea section out of helicopter footage taken over beaches at low tide projected onto a rocky surface. We rendered all that and gave it to 3D in the set-up, so that they knew where the sea was supposed to be. They then created the sea surface through which our stuff could be refracted, as well as adding any 3D model elements such as the battleship. This was then put back into Flame, where I reassembled it. It was a very complicated process, but the result is beautifully clean and -- funnily enough -- quite simple looking."
As is often the case, the fact that Framestore CFC works on many projects in multiple media came in handy -- this time on a sequence set on and by a North Sea oil rig. "The rig itself was a 2D collage I created using plausible elements I'd shot in Auckland Harbour using a still cam -- which was very economical, as well as neatly side-stepping possible permissions issues. But despite having had two goes at it," recalls Bartlett ruefully, "too clement weather meant that I couldn't capture sea activity that was as fierce looking as we wanted. Luckily for us, we'd worked on some beautiful and dramatic rough high seas for Superman Returns last year."
Dan Seddon takes up the story. "We restored the Houdini-based system that was used on Superman to do the sea," he says, "Initially thinking we'd just pick it up and run with it. But it was quite a complex system -- and a little unwieldy for the quick turnaround our shots demanded. So we ended up using their methodology, but in a simplified form involving tools sourced off the internet to give us the waves. I'm really pleased to say that our work -- created within a commercial's punishing schedule -- can stand comparison with the Superman shots."
Client Diago
Agency JWT
General Creative Directors Jonathan Budds, Anita Davis
Copywriter Adam Griffin
Art Director Rob Spicer
Agency Producer Sarah Patterson
Production Company Rattling Stick
Director Daniel Kleinman
Producer Johnnie Frankel
For Framestore CFC
VFX Supervisor  William Bartlett
VFX CG Supervisor  Dan Seddon
Technical Directors David Mellor, Guillaume Fradin, Alex Doyle, Michelle Fabbro, Daniel Stern
Modelling Kate Hood, Mary Swinnerton
Animators Dale Newton
Junior TD Paul Jones, Jabed Khan
Matte Painters Paul Chandler, Sam Osborne
Inferno Artists William Bartlett, Marcelo Pasquillino
Roto Artists Savneet Nagi, Laura Ingram
Telecine Colourist Matt Turner
VFX Producer Scott Griffin