Develop 3D celebrates design, engineering and manufacturing technology at the one day event today. Insightful talks covered innovative technologies, including 3D printing and 5th Gen software, from manufacturers at the cutting edge, such as Infiniti Red Bull Racing, and the vehicle concept designer on Tron: Legacy. TJ’s Keith Jeffery showcased for the first time images for the launch of Ford Focus 2015 and discussed how design assets can be most effectively built for marketing needs.
The lifecycles of global product development projects are continually being cut. We are seeing shorter development cycles than ever before in the race to launch products and gain market share ahead of the competition. Manufacturers therefore need to maximise the use of their design assets, even completing adverts for a car launch before a car has ever left the production line. Once the product designs are complete, a manufacturer’s marketing team needs to produce advertising material and go into audience testing fast, often long before a product is deployed.
Keith examined the steps that manufacturers need to adopt in order to produce product visuals and virtualisations indistinguishable from real photography. Comparing “As Designed vs. As Manufactured” data, there are subtle differences needed to take a CAD render and turn it into a piece of virtual product photography.
Taylor James has been working with automotive manufacturers who are leading this important process and “garaging” their design data for the purposes of marketing. We are now seeing the same pressures that were experienced in the auto sector over the last decade spilling out into all areas of manufacturing.
To this end, Taylor James has developed a unique solution to deliver complex visuals for rapidly changing products and configurations. hydraGen™ is proving to be a real game-changer for our clients as it enables us to be more responsive to the inevitable changes that take place through their development cycles. It also gives us the ability to produce assets of every version of a client’s product with different colours and specifications handled with maximum flexibility.
Jeffery explains “We understand what is needed from both engineering and marketing teams to maximise their ability to produce high quality marketing material across different media. With our unique process, we can meet this need with accuracy and efficiencies, creating world class digital visuals for today’s fast paced multimedia needs.”
Check out the Ford Focus 2015 visuals, and if you’d like to know more, give Keith a call on 020 7739 4488.
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Here at TJ, Producers are responsible for a project throughout its life in the studio, from pre-production to final delivery. Every production has its ups and downs and the Producer’s ensure every project stays on track, whilst being a solid rock for the client to guarantee a smooth and stress-free creative journey from brief to final delivery.
Zsuzsanna, our lovely Hungarian Producer, reveals all about her time producing our recent print and digital campaign for Marie’s Dressing…
“Ad agency, HW&H approached Taylor James to help with their product launch for Marie’s Dressing. A multi-platform campaign needed to launch their new products, which feature 6 different salad dressings. We had just one week to plan a two day shoot which would capture the material we would need to produce both still imagery and then motion aspects of the campaign. So we had to start sourcing the right props listed in their brief immediately – which is how a fellow producer and I ended up hiring a van and zipping down to Brighton to pick up some authentic old crates for the shoot!
Once we had all the props, we could start arranging them for the shoot and to best represent each product. As you can see in the Behind the Scenes video, this included matching which crate was to be our ‘Hero’ crate and which product (dressing) should go with what selection of vegetables. Luckily, the agency supplied us with a complete vegetable guide showing which had to go with each of the dressings. We shot 6 different Marie’s Dressings – Chunky Blue Cheese, Creamy Ranch, Coleslaw, Balsamic Vinaigrette, Basil pesto Vinaigrette and Raspberry Vinaigrette – each in various crate locations.
We captured the stills and the live action at Lock Studios, who were very accommodating and helpful. Our eagle eyed Cinematographer and Editor managed to capture the whole shoot and create two Behind the Scenes movies from the shadows which you can see on the project page.
On set, our food stylist, Emily, did an amazing job organising all the veggies in the crates. I never thought that organising leaves and carrots could be such an art, but watching her work you can see she definitely takes pride in what she does and it is a complicated job! She had a spray with her all times and sprayed oil on the vegetables frequently, so they didn’t evaporate under the hot studio light, keeping the vegetables looking fresh at all times.
The second shoot day was dedicated to the motion part of the campaign, which you can now see online. We glued tracking markers to all the crates, so we can remove the front and replace it with the illustrations that HW&H provided. We had a very strict timeframe in terms of how quickly we had to stack the crates in frame. It definitely took some organising and a few takes to get precisely what we envisaged. Stacking crates and placing bottles is not as easy as it looks when you want it to look natural and effortless – the bottle and the vegetables kept wobbling where we placed them!
HW&H is a nice little family-oriented business in Santa Monica, USA and we couldn’t have asked for a better client. They were open to our suggestions and we always got prompt clear feedback. They were unable to fly over and attend the shoot in London, so we allocated ‘Skype time’ (waiting until dawn on West Coast USA, 8 hours behind London time) on the shoot when we could share progress and explain how we envisioned moving forward. With our Retoucher on set, all the selects and rough compositions were sent over so that we could easily review work with the client and had the opportunity to adapt the art direction during the shoot.
We had a fun and very successful shoot, and we were able to have a great (healthy) feast of leftover fresh veggies at wrap! Back at the studio and on track to deliver the work on schedule, we moved onto the next task of comping together the branding artwork with the footage, bedding in the text with the crates to give a look that you wouldn’t question.
When I look back at this project, I feel like everything was at the right place: Amazing crew and team with a great client on board, there was no question that this project would be a great success. We have created 3 Hero prints and 3 different format banner ads each with text adaptations, and while we’re crunching on our carrots, we have a very happy client and agency indeed. What’s not to like about being a producer? Every day is different and that’s why I love it! Zs x”
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We are looking for interns for placements from 1 day to 1 month, in any area of our business – photography, production, CGI, Retouch, web design, illustration, animation, marketing.
If you are interested, drop us an email at [email protected] and tell us:
- Why you are interested in working at Taylor James
- Which area you would like to work in (it can be across different departments!)
- What you want to gain from your time here
- Your availability
Make sure you include ‘Internship’ in the subject line and attach your CV & portfolio if you have one.
We look forward to hearing from you!
If you’ve been following us recently you will have spotted our furry new mascot, Kevin. Before Christmas he was found frolicking in snow capped mountains for our festive film shootThe backdrop of snowy mountains came from our colossal stock library and was splattered with 3D helicopters and TJ production crew, huge shiny red and gold presents.
This image was used for our 2013 Christmas cards– hope he brightened up your desk.
Designed by our Creative Director Jerome (equally as mischievous, perhaps not so furry…) over the wet winter we’ve been having, the creature was built in CGI – a little modeling, rendering, rigging and we could make him as gigantic, outlandish and huggable as we very well chose. And thus, Kevin was born.
His next adventure – Kevin and the Mini – shows him chasing the classic British car down a country lane. So where did the idea of Kevin, and this black and white movie in particular come from? We quizzed Jerome for his original vision and how Kevin was developed into the big friendly creature he is now.
“It all stemmed from some test footage we shot with the help of the guys at Iron Box Films. In true British style, when the time came to shoot on location… it rained. So we had no choice but to shoot the material in very wet conditions. Looking back through the footage back at the studio, we pondered whether to fix it in post-production, making it appear dry and bright, or what else we could do with it for the best outcome. Then we decided to play with the bad weather and the ‘gloomy’ undertone. Working with this style, we turned the whole picture into black and white to get something quite moody with strong contrasts.” Jerome Haupert, Creative Director explains.
After the initial set up was decided, the classic Mini Cooper was modeled and rigged so we could integrate with the live action backplate. We also reworked the camera moves quite significantly in post to get something more dynamic. We then had the chance to start playing around with our CGI character animation. It was just a case of coming up with a simple narrative to fit around this – something which would allow us to play with our CGI character integration and animation, VFX particles and matte-painting skills.
Focusing on the quintessential English style of the drizzle and a lane in the country, Jerome came up with the story of an iconic British car carrying a “Just Married” couple winding through the small country lane, with the rain beating down… All quite depressing… Until our wacky hero Kevin bounds cheerily down the road to throw some confetti at the car to cheer them up and send them on their way with his good wishes!
We added the church in matte-painting to fit in with the wedding story, and added additional clouds, rain and puddles in post-production to emphasize the whole mood. The shot was then given a strong B&W grade.
Have a look at our making of to see the before and after and Kevin’s character development… wouldn’t it be great to be able to manipulate the British weather in real life.
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We are excited to announce the launch of our Film & Photography division, these services complement our existing in-house expertise.
Creative, CGI, Post and VFX- we create fully integrated campaigns and furthering our ability to help agencies and brands realise their creative vision.
Heading up the division is LJ Hopkinson. Having worked closely with TJ as a photographer, producer, director and cinematographer for many years, LJ Hopkinson’s experience enables us to take your vision further across any media. From animation to digital content and commercials, our intelligent production approach offers efficiencies and consistency, helping to save you time and money by:
Maximising the budgets available by overseeing multiple areas of media – print / motion / CGI.
Continuity and quality is upheld across all media – print through to motion and digital.
Efficient and intelligent solutions are implemented by dedicated creative and production teams.
Every step of the way we collaborate with you to build a bespoke production solution, and we ensure the complete solution is top notch and runs smoothly, with in-house or commissioned artists. Combing production services such as:
Storyboarding / Concept Development / Pre-vis
Budgeting / Planning and Scheduling / Line production
Art Buying / TJ Stock library
Creative and Art Direction
Studio and Location Photography and Direction
Crew booking and management
Casting and talent management
Styling, hair and make-up
Set building, model making and props – physical or 3D
Camera and Lighting equipment
Logistics – Accommodation, travel and transport
Behind the Scenes
We also offer all elements of Post-Production including CGI Integration, VFX, Matte Painting / Retouching, Colour Grading, Edit and output for multiple media.
Read more here.
Creating global campaigns since 1999 in London and now also NYC-
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Earlier this summer we teamed up with agency CDM, New York, to create a fully animated short film for American Heart Association. Launched at the charity’s annual gala aboard HSS Intrepid, the animation educates and inspires us to combat heart health.
To design and produce a 6 minute animation ‘The Hero in All of Us’, which shares 3 young heroes’ remarkable stories of bravery, our studios in London and New York joined forces with creative team C&C. During concept development and scripting stage, we had the humble privilege of interviewing the starring young heroes in New York. Hearing the inspiring stories first hand, helped us convey the authentic tales of bravery:
Arnette was enjoying thanksgiving with her dad, one minute he was fine and the next he had a stroke. She recognised the signs and ensured he was safe while dialling 911 – Arnette’s quick thinking helped save her dad’s life and now she is helping him recover with AHA’s support.
Sam’s Roof Garden Project makes healthy eating cool with AHA’s ‘Simple Seven’. Sam’s efforts took him to meet President Obama and are helping make a healthier America.
Tommy felt helpless when he saw a cardiac arrest in the street and no-one helped. It drove to him learning hands-only CPR, and in this film he shows you how to do it. He is currently lobbying to get a bill passed to get CPR taught schools across America.
The short combines hand drawn 2D animation with 3D environments and camera moves, giving it a dynamic motion with a sense of depth and action while the character animation retains the charm, warmth and human qualities associated with traditional illustration. Brendan Haley, Taylor James’ Executive Creative Director, says “one of the most interesting aspects of this animation was combining traditional hand drawn 2D animation with 3D camera moves and environments. A good example of this can be seen in Arnette’s ‘helping hand’s scene’, where 2D animated characters live in 3D space, interacting with 3D elements.”
The animated short commenced a moving evening of outstanding presentations aboard the HSS Intrepid in New York, where significant sums were raised in support of AHA’s mission ‘to build healthier lives, free of cardiovascular diseases and stroke’.
Stephen Minasvand, Associate Creative Director at CDM said: “The AHA video is awesome. And I use that word to its truest definition. I was literally in awe at the Gala while watching it, even after seeing it for the umpteenth time… People were welling up in the audience.”
To be a real life super hero, it starts with something small!
For a detailed look behind the scenes of the character development and production process go to www.taylorjames.com/american-heart-association.
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We love our colour filter so much we just had to blog about it! It is the perfect platform to play around with your own creative references, and make your very own mood boards to either send onto a friend, a colleague, a potential client or even just print out for your own enjoyment!
Just head to ‘Work‘ at the top of the homepage and hover over the ‘Filters’ box and hey presto! Firstly, you can see all categories in one quick, easy glance which makes it easy to immediately hide everything irrelevant and keep your browsing focused and simple. If you only want to see ‘Food & Drink’ products for example, or you’re only interested in the Healthcare brands.
COLOUR OF THE MONTH – COMPETITION TIME
Our colour of the month this month is PURPLE – what is yours? Share your moodboard with us on Facebook and Twitter. The more people who get involved, we will start a little competition with an exciting prize for the most original way of using the colours and your board!
We’ve always listened to peoples comments so that we can make our website experience completely optimised for you. We want your whole browsing experience to be as intuitive as possible and so this is a winner. We always want to hear your comments so please get in touch with any suggestions at [email protected]
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ICAD (Institute of Creative Advertising & Design) shortlisted and chose our handy work for Powers Whiskey for Press ‘Consumer Campaign’ in the 2013 awards this month.
We have tremendous relationships with our clients in the consumer products arena, our continuous work in food & drink, fashion and tourism a fantastic showcase of how we can develop creative brand campaigns across all platforms of advertising: print, digital and TV alike. Renowned for our utmost top quality work in press, we are very happy to add this to our roster of endorsement in this area and hopefully see more come through in the near future.
See the full project for Powers Whiskey here.
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We want to know what you think of every piece of creative imagery we share with you on Facebook!
As with all of the latest and greatest TJ productions we share with you, we love to read what you guys think. And we want to take your comments on board – if you’ll share them with us!!
We will post every new production on Facebook and then it’s your turn to pipe up. The more comments and requests the better, so let your imagination and opinion run free… Whether you want to see a ‘step by step’ video, a ‘behind the scenes’ making of, or ask the artist a few questions about the creative – we want to hear it!
So write your requests down as a Facebook comment, SHARE the work, and if it gets enough LIKES then we deem you worthy to be let in on our dark secrets…..
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The TJ team love to get down and creative with a personal project, especially when when it combines cinemagraphic motion and large scale stills. The integrated 2012-13 winter campaign seamlessly blends our own live-action, photography, CGI and creative retouching – and BMA Model’s kind support with a fantastic model – for a truly magical experience that everyone could be part of.
Created at our London Studio from concept to dazzling Cinemagraph, you can explore the depth and detail of the high-quality image interactively here as well as view the cinemagraphs and take a peak behind the scenes of the production.
View the Campaign: Urban Angel
The multiple assets in this Urban Angel series can run across print, from magazine to billboard, interactive and digital.
Cinemagraphs are rising in popularity as a way of adding elements of repeated motion to a ‘photograph’, allowing the viewer to become immersed in a moment in time, whilst maintaining manageable file sizes necessitated by many digital advertising platforms. This method can bring subtle life to imagery and be a cornerstone of truly integrated marketing.
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Creative Review, leading magazine for visual communication arts worldwide, launched their Photography Annual last week, and as proud sponsors we were more than happy to help get the 2012 issue off to a snappy start (excuse the pun) at the launch party in East London.
The Photography Annual is run by Creative Review alongside the printed monthly publication, to showcase the finest photographic work in commercial photography produced over the last year. The work is divided into personal work, advertising, images shot for design consultancies, editorial and conceptual work and entries are judged by a panel of leading art directors and art buyers.
Coming from a photography and print foundation, for 13 years we have continued to work with established photographers from around the world, and value our relationships with these people for ongoing show-stopping work in the print and digital advertising world. A recent piece we worked on with acclaimed photographer Andy Glass, is presented within the Photography Annual – one of four images which we produced for global energy corporation Statoil’s latest campaign. Read all about the Behind the Scenes on this CGI-photography integrated project here.
Among the images honoured for this year’s Best in Book was a stunning shot from Tim Flach’s More Than Human series (an image of a hairless chimp which adorns the front cover of the CR November issue shown below), Nadav Kander (whose shot of actor Mark Rylance is on the Photography Annual cover), Martin Usborne, Peter Lippmann, Giles Revell and more.
The launch was held at our Shoreditch neighbours, theprintspace gallery, where the exhibition continues throughout November. As supporters of the advertising category, TJ are pleased to be associated with top photographers, those we have collaborated with on recent global campaigns, and many we would be delighted to work with in the future. The images are also featured in the Creative Review November issue, sold in all good newsagents.
See our pics from the launch party on our Facebook page here!
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At TJ, we like to honour our British roots, particularly in 2012, with historic moments including the Queen’s Jubilee and the Olympics getting us into the patriotic spirit as you may have seen in our Summer newsletter & social media. We did our bit for the Olympics with the creation of the Heart campaign for games sponsor BP, and are now honoured to be part of the next defining National occasion – the annual Poppy Appeal for Remembrance Sunday.
The Royal British Legion has launched the 2012 Poppy Appeal with an innovative outdoor campaign to raise awareness for Remembrance Day on November 11th. The billboard and poster images, featuring everyday scenes from our working lives such as the tube and suits, are featured in tube and railway stations around the capital, with the tagline ‘Something Missing?’.
The Royal British Legion is the UK’s leading Armed Forces charity, providing emotional and financial support to former and current members of the armed forces and their families. One of the main events that they run is the Poppy Appeal, the poppy being the symbol of Remembrance Sunday, representing those who have lost their lives in honour of their country. In the running up to Remembrance Sunday, lapel poppies are adorned by many of the public, with the image of the poppy strongly linked with the charity itself.
Each image features a cut out of a poppy revealing several different backdrops behind the poster, such as the cables along the underground. Working with agency CST The Gate, we created the three ads to remind people to pick up their poppies for the good cause. Our in-house photographer shot the material needed around London, and the rest was created in CGI and brought together seamlessly in post.
Upload your snap to Facebook if you spot the campaign on your travels around the capital, and tag TaylorJamesLtd.
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So, we met Spider Man. No biggy (ahem). What we were most excited about though (really) was the vastness of the set for the new Sony Xperia Ion TV commercial. TJ’s first task for this cross-media campaign was to shoot alongside the TVC filming, capturing the best photographic material required to create the interactive feature for the website launch. And who wouldn’t want the chance to spy around Fox Studios in Los Angeles?
We were approached by LBi to produce this huge composition for Sony, to form part of an interactive website for the launch of their new ‘Xperia Ion’. A team from our London and NYC studios went over to do the shoot alonside the filming of the TV commercial at Fox Studios in LA.
The brief was to produce a huge street scenes and populate it with hints from popular movies, music and video games. These hints form part of an interactive hide and seek game for users of the Sony website. This was a complete Taylor James production, combining photography both shot on-location and in our studio, with CGI and model-making. Complex creative retouch was necessary to build this multi-part comp to the scale and flexibility required to zoom into the image at high levels of detail.
With just 3 weeks from kick-off to delivery, we pulled out all the stops to launch in time for the release of ‘The Amazing Spider Man’ movie in cinemas!
For Behind the Scenes footage, out-takes and the large interactive image, see here. And see our Facebook page for even more pictures on-set!
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To celebrate the reach of 3,000 Facebook Fans, we want to show you how much we like YOU, by giving you the chance to show us your creative flair in the following competition launching today! We want to see your visualisation of ’3000′.
How? It’s simple. Upload your interpretation of ’3000′ to Instagram and tag it with #taylorjamesltd3000. The chosen winner will receive a signed art print, along with their image and the top 3 runners-up showcased on taylorjames.com and all over our Twitter, Instagram and Pinterest. What better way to celebrate reaching 3,000 lovely fans of Taylor James by showing your images to the world!
This will be running throughout July & August, the winner will be chosen August 10th… Ready, set, go!
Check out our Facebook page and LIKE us along with more than 3,000 other fans!
Terms and Conditions here
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You may have heard, five fitties at Taylor James are getting involved in the Moonriders charity bike ride on Friday 29th June, to raise funds for the Great Ormond Street hospital. They will not only be cycling 100km from London to Brighton, they will be doing it over night (let’s pray for warm weather!) – setting off at 10pm!!
Please show your support by donating on our team page (link below) and sending lovely messages of motivation and luck on our Facebook page! We will amalgamate all these onto the big banner which we’ll be waving for them at the finish line! (Kind messages of support also welcome for us lot freezing waiting for them at 5am with said banner).
Thanks and good luck guys!! Great activity for a great cause.
Thanks so very much to all who visited our team page
and pledged, we raised a total of £1,296.00 – every donation noted and hugely appreciated! See the pics from the cycle on our Facebook page here
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The question of whether imagery we see today is fake or real is unavoidable: from action-packed blockbuster movies to print and motion advertising, to everyday images we come across on the web.
Print images transfer to animation for TV campaigns, a celebrity ‘snapped’ on the beach is photoshopped to death for a glossy magazine. There was recent speculation following a viral video of one man who built a set of wings and soared in the sky like a bird, raising questions amongst CGI professionals who noted how “there is no continuous video from take-off to landing, instead they cut away the main ground camera right as he takes off and cut back right before he lands.”
With images reaching photoreal levels of quality, we sometimes don’t even think to consider whether the picture is of something that exists in reality or if it was computer generated. Our recent campaign for arthritis treatment drug SIMPONI, comprising a mix of photography, live-action and CGI is one such example. Can you tell which objects have been filmed in our studio and which are created in CGI?
Computer generated imagery and photography are at a juxtaposition. While photographers clean up their images, making them look more like renderings, 3D artists are adding blemishes, dirt, scratches and developing tools like subsurface scattering to make their renderings look more like snapshots. Photographers are fighting to remove noise, CGI artists are adding it; photographers are using digital techniques like focus stacking to extend depth of field, while CGI artists begin with unlimited depth of field and artificially reduce it.
Spielberg recently mused that “audiences are so used to digital enhancements or replacements that they don’t trust cinema anymore. They see a movie and… if something beautiful strikes them emotionally, or in a beautiful way, they say ‘That was faked’ or ‘They did that later on the computer’.” He defended his latest epic film, War Horse, saying “we had three days of amazing sunsets, and we actually took advantage of those. There is no sky replacement.”
For our project for SIMPONI, a mixture of techniques were used, including filming objects in our studio for the 2:30m teaser and replicating these objects in CGI for cross-platform deliverables. This afforded the client and agency the control and flexibility they were after. With the full compliment of technical and creative skills, plus live-action and photography studio, in-house, TJ was able to seamlessly blend approaches for a cohesive integrated campaign where the technique is secondary.
What do you think, can you tell which elements are CGI and which are real? Share your comments on Facebook or Twitter
And if you want to see the flying man… CGI Experts on Flying Bird Man
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We’re very excited to be attending the Le Book Connections event today and tomorrow in NYC!
Our stateside reps, Art & Motion and Storyboards Inc, will be showcasing all our work on their exhibition stand amidst the hub-bub of Les Creatives worldwide. Showing off our latest portfolios which presents all our latest and greatest print, CGI & VFX, motion & photography campaigns.
Also look out for our close friends at Wave Represents who will have a handpicked selection of our very best image productions and beautiful retouch work..
If you’re coming along, be sure to stop by and say hi! And keep checking our Facebook and Twitter pages for pics, news and gossip as TJ’s Keith Jeffrey explores the event!
For Facebook updates on Le Book Connections – click here!
For more details on the event - click here!
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We do love it when our hard work and around the clock persistence to get things just perfect gets noticed and brilliantly covered in great publications. Such as our recent hits in 3D World, CG Arena and AdWeek…
Check out the feature for the making of Pegasus in 3D World here, and CG Arena have broken down what we did and how we did it alongside the step by step images too - see here! Plus an insider interview!
We are also very proud to see that Dow got ‘Ad of the Day’ last week in AdWeek following the ‘Solutionism’ campaign ad’s. The main focus being the new environmentally friendly ‘quiet’ train alongside the various beautiful images we created for the global solutions company. Read the feature here!
See our projects here:
Pegasus and Dow
Note to Editors: If you are keen to find out more about any of our projects for any features or advertising, please contact Laura Frost at [email protected]
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Global telecom solutions provider Huawei launch their new phone ‘Ascend’, using a striking Pegasus as their distinctive brand image. The Pegasus, representing the speed and power of the new quad core smart phone was built from thousands of the same model of the phone which is argued as the “world’s fastest phone”. A controversial statement there. Very controversial. But we’ll ‘ave it for now! Purely because we enjoyed building this elegantly detailed fantastical horse.
We built the 3D image using thousands of tiny computer generated models of the phone, for their huge print campaign which reached customers all over the world at the industry’s largest annual event; Mobile World Congress 2012 in Barcelona. Find out how we did it…
We were approached to create the stunning design of a powerful, fantastical horse to look as though it was made out of thousands of phones, for the huge launch of the new generation of smartphone by Huawei. Another piece of design imagery we are quite proud to be a part of, following the recent success of the beautiful CGI design work designed for the Sunday Times anniversary cover!
The symbolic winged horse is famed for representing speed and freedom which is why Huawei chose it as the central theme for the launch of the new phone ‘Ascend’, the “world’s fastest phone”. Each phone was built entirely in CGI (computer generated imagery), astonishing consumers and figures in advertising agencies all over the world as they observed the photo-realistic images at the Mobile World Congress last week.
So how did we do it?
The Huawei Ascend project came into us as a quick turn-around job and there wasn’t much time to nail the concept and visualise this stunning design. Luckily for us the client had a clear direction for the pose and camera position of the Pegasus, so we were able to match it quite quickly and get on with designing the intricate process of placing phones across the body and wings of the Pegasus.
We had to model the phone from a physical model as we had no CAD data, so we scanned it for accuracy then expertly modelled it to make it smooth, accurate and optimised enough that rendering 2000+ of them wouldn’t be an issue. We modelled details including the camera inners with lens and USB port as these are the small details which if modelled help pick up subtle lighting differences and detail that doing by texture wouldn’t give.
We’ve done a lot of jobs where something large is made up of many small items, so we have procedures and processes designed to help speed this up.
Dave Wortley, Lead Technical CGI Artist at Taylor James, says “The placement was extremely important, to help emphasize the shape and form of the body, and design a complex wing structure which felt light yet solid. A combination of in-house tools as well as manual placing and adjustment was used to ensure there were no phones overlapping or interpenetrating which turned into quite a bit of a jigsaw puzzle!”
Once the Phone had been modelled and positions specified, we swapped out the proxy low-res phone models, switched to our high resolution 20,000 poly version, which with over 2000 phones making up the structure of the Pegasus, meant we had over 40 million polygons in the scene, which as we were rendering at a large 8k resolution, meant we could see lots of detail close-up.
The next challenge was lighting, trying to get a smooth rim-lit look with such a facetted shape we encountered issues straight away with the falloff from lights not being smooth across the model because of the angular nature of the geometry. We created a complex light rig involving curved lights to light small parts of the Pegasus with different lights and then at the rendering stage we rendered multiple versions of lighting setups which allowed our Retouchers to paint in extra lighting and reflection where they felt it was necessary to get a nice result.
Its projects like this which would be almost impossible without CGI, the lighting was so complex that there is no way it could have been done in a studio with Photography. Taylor James ensure they invest time heavily at the start of projects like this, modelling accurately and preparing it for good detail levels so we can re-use the original phone asset and render an individual phone at high resolution for further product shots.
This is highly valuable as advertising campaigns are more and more integrated across digital, print and motion platforms. See the project page for more images!
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Some of you might have noticed that we’ve been slowly making upgrades to our site over the last few months. Mainly, we’ve been listening to peoples comments and trying to make the whole browsing experience as intuitive as possible. In light of this, let me direct your attention over to our “All work” section…
Replacing our old menu system is our latest and greatest feature so far ~ our new filter box! You can now see all our categories in one quick, easy glance. This should make it much easier to immediately hide everything irrelevant and keep browsing focused and simple. We’ve also added a couple of brand new options…
The first is a keyword search, based on job title, agency and client. This is a really quick way of finding a job you’ve seen before or to check any work by a particular agency. Try typing in ‘Nissan’!
The next option came about through our MD’s penchant for organising jobs by colour. “Why not let the user do this?” we thought, so we did. Now you can choose a colour from the filter box and voilà! You are presented with a glorious page of blue jobs, perfect for creating mood-boards.
If you have any other comments or suggestions that would make our site easier to use, please contact us on [email protected]
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