Prints / Westfield ‘Fashion Lives’

Westfield ‘Fashion Lives’ main image
Live Action25%
CGI35%
Photo10%
Post30%
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CHI & Partners, London commissioned TJ to create three shots for their stunning print campaign, “Fashion Lives”. Promoting Westfield shopping centre’s latest Autumn/Winter collections, the shots will be used across billboards, bus sides and other various outdoor medias. The creative concept behind the shots was that the models were leaving behind last season’s clothes as a shell of their former selves, and stepping into Autumn/Winter in the latest season’s threads.

There was a two day photo-shoot to capture the models in their ‘before’ and ‘after’ outfits and poses which TJ then used to form the CGI shells and final images. Firstly, photos were taken of each model standing and rotating slowly in a ‘T’ pose in order for the camera to capture every angle necessary to rebuild the models’ to their exact proportions and likeness. They were then photographed in the poses desired for the CGI shells, so that every fold and crease could be replicated. The 2D photography was then used as a base to create the cracked ‘shell’ versions through a process of sculpting and modelling, much like a fine artist would. The process for this job, was complex requiring both technical skill but also an artistic eye to ensure the CGI models were instantly recognisable.

The TJ team embraced the challenge and the end result is testament to that.

Credits

  • Client | Westfield Shopping Centre

  • Agency | CHI & Partners & Village Green Studios, London

  • Prod Company | Taylor James

  • Photography | David Hughes

  • Creative Direction | Taylor James

Extras

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'Behind the scenes'

BRIEF
The brief was to produce three images of fashion models wearing Autumn/Winter clothes, breaking out of cocoon-shells of themselves wearing their Summer clothes.  The overall look of the campaign had to be high-fashion but keeping things very natural and unforced in order to maximize its realism; the beauty of the piece is in the subtlety and reality of the execution.

OUR ROLE
We were brought on board as the CGI and Retouch partner because we have great experience of how a shoot should be performed to get the best out of CGI.  We worked with the directors and photographer to arrange a shoot that gave them maximum flexibility in order to get a great shot of their model, but was also pre-planned enough to ensure seamless integration with the CGI shell.  We advised on setup, lighting and camera; we also carried out an HDR shoot on location of the signed-off lighting setup which gathered all the lighting information from the scene so that we could light our CGI model exactly like the photographic elements.  Throughout we carried out form-gathering shoots where the models would stand with their arms raised to their sides in a ‘T-pose’, they then rotated three hundred and sixty degrees whilst we photographed them, capturing their silhouette from every angle.  The purpose of this angle study was to give our sculptors reference images of the models so that they could set about carving out their likeness.  As well as advising on the shoot our main role was to sculpt the shells in CGI to perfectly replicate the models, integrate them seamlessly with the photography, and perform all the retouching and background extensions on each image prior to artwork.

PRODUCTION/SOLUTION
After agreeing the best route ahead we performed multiple tests on the look and feel of the shell itself using a generic torso sculpture.  We tested a range of organic and in-organic materials, searching for something that spoke of ‘cocoon’ but also kept the look of classical sculpture which is familiar and works well.  As soon as the shoot was done our sculptors set to work creating the shells of the models and our retouchers began cleaning up the selected model shots and creating massive extended backgrounds to accommodate the different crops.  Once the first sculpt had been done to capture the model’s likeness they were then posed into their cocoon positions and fine-tuned.  The next stage was to break open the shells in such a way that they retained their recognisable qualities yet broke enough for it to be believable enough that the model had stepped out of it.  We then placed pieces on the ground to add a little debris before setting about adding little cracks and details to every inch of the model, enhancing the level of realism. Finally, the whole shot was tied together in retouch, shadows were cast from the models onto the shells and a subtle colour grade was performed.

RESULT
The final images were a hit with consumers and have been seen all over London for months.  This is a great example of a job that would have been prohibitively expensive to do using traditional methods, as making real models would have required so much time and money, plus there would have been very little flexibility over what material they could have made it from.  CGI doesn’t have to be all about King Kong or prototype cars, and this is a prime example of the technology being used subtly and artistically, with stunning final results.
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PRE-PRODUCTION / AGENCY LAYOUT
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PRE-PRODUCTION / CRACK REFERENCE
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PRE-PRODUCTION / STATUE REFERENCE
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PRODUCTION / BASIC MODELING
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PRODUCTION / PHOTOGRAPHY
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PRODUCTION / HDR CAPTURING
PRODUCTION / MODEL STUDY
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PRODUCTION / HDRI TESTS
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PRODUCTION / CRACK DEVELOPMENT
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PRODUCTION / TEXTURE DEVELOPMENT
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PRODUCTION / LIGHTING TESTS
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POST-PRODUCTION / SHELL CLOSE-UP
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POST-PRODUCTION / SHELL
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POST-PRODUCTION / FINAL