Creating the personal touch with CINEMA 4D

November 7, 2013

MPC's Motion Design Studio turned to CINEMA 4D to explain the benefits of a digital lifestyle for Three Mobile customers.

 

MPC's Motion Design Studio, in collaboration with creative ad agency Boys and Girls and director Brett Foraker of production company RSA, was faced with the technical challenge of incorporating fast-moving CG elements into a single, 40-second camera take. The concept for the advert was, that through mobile phones everyone has access to many different digital applications. Conveying the benefits of having that digital lifestyle through the Three Mobile network was a challenge that started with HDRI and reference measurements taken on a cold street in Prague.

 

The Motion Design Studio team, part of MPC, was lead by Eliot Hobdell with the efforts of 15 artists over a period of four weeks. CINEMA 4D R14 Studio was used for all the 3D elements in the 40-second spot, with the final piece put together in NUKE and then polished off in Flame.

  

Music has become increasingly digital and that's what has to be conveyed in the Spotify section. The idea was to enhance records that were dropped onto the set with CG extras. Also, the album cover that is actually caught in the shot, needed to be replaced and the sequence needed to be modified to show the albums breaking up into pixels as they came into contact with the floor. This is where CINEMA 4D's aero/dynamics simulation and an XPresso script came into play. Manual animation was used to match digital doubles for the original records and an aerodynamics simulation was created for the extra records. A 2D planar track of album cover that the hero catches was created, and an XPresso script was set up to swap the covers with exploding MoGraph clones for the pixels when the records made contact with the floor plane.

 

The final part of the film required a wall that breaks up into Instagram pictures and flies up the street. This was mastered in CINEMA 4D by creating a CG wall from MoGraph clones, then sculpting dynamic simulations using MoGraph tags and wind generators. Added to all this was the ongoing cleanup from time-warp artifacts and tracking markers, as well as lighting, texturing and final compositing.


When the project was finished, Eliot commented, "This project was a perfect blend of creative and technical challenges and was a pleasure to work on from the initial pitch to the final delivery."

 

To read more, click here.

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