In partnership Sudler & Hennessey London, we created this trip to mars to promote therapy advancements for Chronic Lymphocytic Leukemia (CLL). We delivered a complete print and animation production, combining photography, animation, matte painting and VFX for a campaign launch that was out of this world!







The project kicked off with a detailed research and reference phase, brushing up our knowledge on space expeditions and all things sci-fi: from analyzing the rocky terrain and atmospherics, to the future of landing craft designs and habitation. We took inspiration from recent Hollywood movies and detailed photography and data from NASA and launched into the next phase of concept development.


We explored layout and compositions through quick sketches and developed concept art to define the tone and mood of the lighting for the Martian terrain. The space suit is a futuristic take on the modern day white space suit — designed to look technically accurate, with a tight fit for better mobility and more futuristic styling for the brand.


Structural designs and build materials for the descent and ascent vehicle (DAV) were closely referenced from actual space modules, with heat shielding, thermal insulation, and landing gear drawing from both real-life and fictional designs. The concept arts were then refined as model sheets, with close up details to further explore the mechanics of the landing gear for the modeling team.

Martian Concept rocket-lander_2
Martian Concept mars-base3
Martian Concept mars-base4 copy
Martian Concept mars-base6 copy
Martian Concept mars-base7


Our 2d and 3d teams worked in tandem to bring this project to life. The 2d artists created the Martian terrain matte painting, drawing from the Taylor James Stock Library and other stock material. We sourced images of rural landscapes, beaches, sand dunes, rocks, deserts and cliffs, which were all composited together and color graded to create our dramatic Martian landscapes.


Congruently, the 3d team was blocking out the scene setups and animatics to establish the required shots, framing and timings for the animation. Once the edits were locked, the 3d assets were modelled, and detailed textures and materials were edited. 



Each sequence required multiple render elements and passes composited together in Nuke. Additional motion graphics were overlaid on the suit and helmet displays and layers of atmospherics, dust, and post lighting effects added to the each of the shots. Final Grading was then applied using DaVinci Resolve. The stills campaign was repurposed for multiple print and digiral channels, delivered as 10,000 pixel high resolution images.

Martian Master 01
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