2013 Results

CAT 32 - Editing & Special Effects (FLM)

SILVER

CHI & Partners (UNITED KINGDOM)

Samsung, Smart TV: "King of TV City"32-00057-FLM
 

Agency (& City): CHI & Partners London

Creative Director(s): Jonathan Burley

Copywriter(s): Rob Webster

Art Director(s): Alexei Berwitz

Production Company (& City): Stink London

Film Director(s): Adam Berg

Production Company Producer(s): Ben Croker

Agency Producer(s): Alex Nicholson

DOP: Mattias Montero

Editing Company: Trim London

Editor: Paul Hardcastle

Music Artist & Title: John Murphy-Adagio in D Minor

Sound Design: Brian Emrich

Visual Effects Assistant: Frank Lambertz/ Chrisopher Antoniou/ Mark Gregory/ Jama Djurabaev/ Steph Karim

Executive Producer: Chris Allen

Cinematographer: Mattias Montero

Lighting: Mattias Montero

Production Design/Art Director: Ninon De Klerk

Caerman: Emile Moller

Post Production Company: MPC

Short explanation

A raft of blockbuster visual effects feature in this epic TV spot for the new Samsung Smart TV. Set in an eerily deserted city, spot follows the journey of a man encountering a variety of extreme characters from the world of TV content and film – from a rampaging herd of wildebeest to a giant T-Rex to a full-scale, terrifying alien invasion. The team created much of this content from scratch, then seamlessly integrated the elements into their live action surroundings. The creative ambition of the spot relied heavily on the credibility of the VFX, which is both minutely detailed and epic in scope.

‘King of TV’ is a major VFX piece, combining all the major disciplines into one seamless, epic sequence. Specialist work included concept design for the T-Rex and spacecraft, CG, 3D, matte painting, green screen, rig removal, colour grading - and everything in between.
The City: The director wanted to change the streets of Cape Town into a more claustrophobic, modern metropolis. Trees were removed and buildings were enhanced to give the look of a looming, urban city. The ends of the streets themselves were replaced with matte paintings to dramatically enhance the claustrophobic feel.
Wildebeest: Footage of wildebeest was captured on a huge green screen, working in a safari park just out of Cape Town. This was particularly challenging, as wildebeest aren’t particularly renowned for taking direction well… Multiple plates of wildebeest were then comped into place using proprietary crowd replication software, while two wide-shots were created using CGI.
Puppetry: The bear was captured in-camera using a traditional puppet, with rigs and puppeteers later being removed. The final bear has the soul and warmth of ‘in-camera’ animation, combined with subtle aspects of realistic anthropomorphism using Warp and eye animation.
T-Rex and character animation: The suitably terrifying CGI Tyrannosaurus Rex was designed, textured, animated and comped with a huge and loving attention to detail. The range of shots from close-ups, to interaction with in-camera elements provided the team with an extraordinary set of challenges more common to blockbuster Hollywood movies than 90-second TV spots.
Following initial concepts by in-house artists, the dinosaur was sculpted in 3D using ZBrush. This was vital as it depicted its final shape and form, allowing the team to measure the impact point precisely on the wall (the wall that is destroyed by the creature is part miniature build and part CG). The compositing team added debris and saliva to the dinosaur, further adding to the photo-realism.
Mothership and UFO crafts: The final epic scene showing the alien invasion was a combination of live action and CG magic. Referencing films such as ‘Independence Day’ and ‘Alien’, the concept artists turned their hand to designing the Mothership and attacking UFO crafts.
The shot containing the Mothership was created from scratch using a still from a time-lapse camera, matte painting and adding a 3D Model in Flame. Light interaction and shadows were added in 2D.
The cinematically impressive alien attacks were created using vfx by enhancing the plates and comping in the CGI UFO’s.
Explosions: The impressive explosions were added using a combination of CGI fire, combined with real elements shot against black. An extensive element library was utilised to add to the flame and smoke effects.
Overall the project was an amazing collaborative effort that stretched over two months, with multiple vfx disciplines working closely and passionately together to achieve an epic and exquisitely detailed final result.