Framestore_Brand_Guidelines.pdf

Identity guidelines© Framestore 2015 — version 1.0 Framestore Identity Guidelines 1 Identity assets © Framestore 2015 4 1.1. Introduction Framestore has always had an energetic, playful, vibrant brand identity which has set the company apart as a place of rule-breaking creativity and individuality. The Framestore identity references its brand heritage by placing the original F design at its heart. Other aspects of the original Framestore identity are no longer used. The new brand elements give rise to a simple, refined, modern identity which is flexible and versatile. Framestore identity guidelines 5 1.2. The logo The logo is our main brand asset, expressing the creative yet rigorous spirit of the Framestore brand across all media. It should only be used as provided in the appropriate files. Framestore identity guidelines 6 1.3. The colour palette Framestore Blue RGB 0 117 201 CMYK 100 40 0 0 Pantone 3005 C Framestore Light Blue RGB 0 185 255 CMYK 70 0 0 0 Pantone 298 C Main colour Secondary colours Framestore identity guidelines Expressing our creative and technological problem-solving approach, the Framestore colour palette provides both confident and dynamic colours that shape our identity. Framestore Dark Grey RGB 85 86 90 CMYK 0 0 0 80 Pantone Cool Gray 11 C Framestore Light Grey RGB 188 186 186 CMYK 0 0 0 34 Pantone Cool Gray 4 C Framestore Orange RGB 255 125 0 CMYK 0 58 100 0 Pantone 151 C Framestore Green RGB 165 225 160 CMYK 40 0 55 0 Pantone 358 C Accent colours 7 1.4. Typography Main font family Used for the wordmark part of our logo, Antenna also delivers our messages efficiently across all major platforms, with its confident, deliberate design. The extensive range of widths provides plenty of options for any situation. ABCDEFRAMES Antenna Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Antenna Regular ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Antenna Medium ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Antenna Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Antenna Light Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Antenna Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Antenna Medium Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Antenna Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Framestore identity guidelines 8 Secondary font family Whenever Antenna cannot be used (e.g. emails, presentations that need to be sent to clients), the Arial system font should be used instead. ARIAL Framestore identity guidelines Arial Regular ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 9 1.7. Using the logo Safe space To ensure that the logo has visual impact, always leave enough clear space around it. This should be at least half of the symbol’s height (X). For the same visibility reasons, the logo should not be used too small, either on printed materials or on screen. The minimum sizes are shown here. X X 2X X X 7mm / 30px minimum Framestore identity guidelines 12 Colour versions of the logo The Framestore logo (and its variants) can be used in several coloured versions on white and coloured backgrounds, as shown. Please keep in mind that only dark grey backgrounds can provide good readability for all the coloured versions of the logo. Also, for the same reason, a green version of the logo should not be used on white backgrounds. The logo used on white backgrounds The logo used on coloured backgrounds Note: The rectangles shown here are used to describe background colours — they should never be used as holding devices. The logo used in black & white Framestore identity guidelines 13 Using the symbol Thanks to its recognisability, our symbol can be used on its own, together with the grid, or whenever there is not enough space available to use the full logo. It can also be used as a visual reminder in situations where using the logo would become too repetitive. The symbol and the logo should never appear on the same layout or surface. Framestore identity guidelines 14 Please avoid when using the logo The Framestore logo (and all its variants) should only be used as supplied, to ensure that it always has the best readability and it is consistent with the rest of the Framestore identity elements. Avoid treatments such as: – applying drop shadows – using strokes, glow effects – recreating the logo in any way – rotating, distorting or using perspective – using other colours or gradients –u  sing the symbol without the squircle –u  sing colour combinations that affect the readibility of the logo – using the logo on textured backgrounds –p  lacing the logo on busy photography backgrounds Framestore identity guidelines Framestore 15 Please avoid when using the logo (continued) Also to avoid: – using the logo vertically –c  reating new logos for either ‘sub-brands’, special events or other purposes –u  sing the Framestore wordmark on its own, without the symbol – creating a stacked version of the logo –c  reating a ‘filled in’ symbol for the logo, either by using white or other colours – creating an outlined version of the logo –u  sing different colours for the symbol and the wordmark within the logo Framestore identity guidelines RANDOMNAME or 16 1.8. The squircle grid Providing a functional, flexible structure for many of our Framestore materials, the squircle grid is a strong identity asset. It is reminiscent of motion tracking points and the grids on NASA space photographs. Framestore identity guidelines 17 Using the grid The grid squircles (or elements) can change their size from one situation to another, depending on whether the grid is used as a main design feature, or a supporting one (providing the structure for an image-led layout, for example). The density of the grid can change as well, depending on the size of the squircles and their importance within the layout. The previous page and current one are a good example. Many or just a few squircles can be made ‘invisible’ to make room for the main elements of a layout (the Framestore logo or symbol, a title or headline, text, images). This guidelines document demonstrates the use of the grid extensively. The grid should always be centred with the active design area of a layout. Binding, cropping or folding margins should be considered separately. Framestore identity guidelines 18 Using the grid (continued) Thanks to its flexibility, the grid can be used across many different materials, the print ad and backdrop banner shown here being just two examples. All the layout elements should be positioned depending on the grid. The logo’s symbol should always be aligned vertically and horizontally with one of the grid squircles. Other elements can be aligned either with the logo, or with the grid squircles. framestore.com @framestore /framestore We are Framestore. We combine award-winning craft and relentless creativity with tomorrow’s technologies. We make the impossible possible. “I am very, very impressed with Gravity” — Buzz Aldrin “I am very, very impressed with Gravity” — Buzz Aldrin Alfonso Cuaron trusted us with his pioneering travels into space. It was a real voyage of discovery. framestore.com/gravity Cinefex print ad Framestore identity guidelines Backdrop banner 19 Using the grid (continued) As a general rule, the size ratio between the Framestore logo (or symbol) and the grid squircles should be either 4/1 (in most cases) or 16/1 (for large materials, such as backdrop banners, office signage). providing the spacing between the images, but without being visible in the final layout, the second as a visible element, the squircles having been resized by 50% individually (as shown here). Using the squircle grid For print ads and other single-image layouts, one grid squircle can be enlarged and used to frame the image. For backdrop banners and other multiple-images layouts, the grid is used twice: first for framestore.com @framestore /framestore We are Framestore. We combine award-winning craft and relentless creativity with tomorrow’s technologies. We make the impossible possible. “I am very, very impressed with Gravity” — Buzz Aldrin “I am very, very impressed with Gravity” — Buzz Aldrin “I am very, very impressed with Gravity” — Buzz Aldrin Alfonso Cuaron trusted us with his pioneering travels into space. It was a real voyage of discovery. Alfonso Cuaron trusted us with his pioneering travels into space. It was a real voyage of discovery. framestore.com/gravity framestore.com/gravity Cinefex print ad grid Framestore identity guidelines Backdrop banner grid 20 What to avoid when using the grid The grid should always have a functional role (and look), not a decorative one. Therefore, please avoid: –c  reating grids without enough space between the grid’s squircles (making the grid look like a decorative pattern); –c  reating a ‘squared’ version of the grid (with the exception of the notebook inside pages); –u  sing the grid on just a part of the layout; the grid should always cover the entirety of the layout (even if some of its elements are obscured by images or text); –u  sing different sizes for the grid squircles (only one different sized squircle can be used, as a frame for an image). Framestore identity guidelines 21 4.1. On-screen presentations One of our main touch points with our clients and collaborators, screen presentations should send clear messages and show our work with maximum impact. For these reasons, please keep texts short, to the point, and use one image per slide (either full bleed or framed) as often as possible. We are Framestore. We create extraordinary experiences. We make moving images, content, design and digital for the advertising, entertainment and film industries. We are global leaders in visual effects, having won every major industry award. Introducing Framestore Mike McGee, Creative Director & Co-Founder © Framestore 2015 © Framestore 2015 Presentation cover with framed image We collaborate from the conception of a project and bring a creative and technological problem-solving approach to our partners’ business challenges. We engage consumers through groundbreaking visual experiences that are driven by insight and innovation. Introductory slide with full bleed image Text slide with two columns Framestore identity guidelines 3 Introductory slide follow-up Our reputation is built on our trusted relationships. We never stand still and work tirelessly with our partners to deliver their vision. Our talent, experience, and innovative technology continue to help our clients push boundaries and break new ground. Guardians of the Galaxy We’re proud to offer a scalable talent pool for clients and partners. Our global team is connected through a realtime production pipeline, enabling 900 colleagues to collaborate on projects, wherever we are in the world. © Framestore 2015 © Framestore 2015 Thank you @framestore facebook.com/framestore 4 © Framestore 2015 Section or case study cover with full bleed image © Framestore 2015 End slide with framed image and contact details 64 On-screen presentations (continued) Whenever there’s a need for a longer text to be shown on one slide (and it can’t be split on two or more slides), one of the column templates should be used. Just like in the case of newspapers, columns make for faster, easier reading. With GE’s ‘Invention Donkey’, the possibilities are endless. New best friends, a money-making app, maybe even a new way to power the world? Framestore’s New York team collaborated with BBDO and director Steve Miller to deliver this hilarious new spot, featuring real-life donkey actress Bella-Bella. Section title that goes on one or two lines if necessary VFX Supervisor Raul Ortego was present on set where the donkey was shot against a green screen, with David Hulin also in attendance to take CG references from the animal actress. “We needed to know in advance how much smaller the donkey was supposed to be in the commercial as well as what type of surface it would be standing on” Raul explained. “Radical were the Production Company and built a scaled-up replica of the ground for the donkey to be shot on. Having this prop on set we were able to get good shadows and a correct bouncing light, which really helped further down the line.” Presentation title on one or two lines if necessary Subtitle, date or speaker’s name on one or two lines if necessary © Framestore 2015 © Framestore 2015 Presentation cover using the grid without image “It comes as no surprise that Framestore delivered on one of the most challenging multi-faceted creatures I have seen in a commercial. It is not often that artistry, technology, and hard work come together so seamlessly” — Director, Carl Erik Rinsch. Framestore worked with J. Walter Thompson to deliver a shape-shifting, oil and metal based creature for Shell’s latest spot. Collaborating with director Carl Rinsch, the ad is predictably high-octane, with the stunning Chilean Andes serving as the theatre in which the action plays out. Early character designs were done way back in late November 2014, with CG Art Director Grant Walker creating distinct characters for the different stages of the ad. “Carl the director had a strong opinion on what he wanted, but gave us a lot of scope to create original designs. The monster had to evolve throughout the ad and demonstrate the various threats to the performance of the engine” explained Grant. The monster at the start of the ad was based on a shrimp-like primitive creature, before morphing to resemble a spider and finally a land based mammal like a gorilla. “The concept character originally had more ambiguity to its form, but we made the conscious decision that it should take on more obvious forms. This gave the commercial more interest and the monster more identity.” The shoot took place over a four day period in December with VFX Supervisor Russell Dodgson and CG Supervisor Robert Harrington both in attendance. “It wasn’t like your normal supervising shoot. Carl was constantly whizzing off to get the amount of shooting done in the time we had available, and having the car and helicopter running a the same time, coupled with shooting on a Russian arm, it was pretty hectic” said Russell. “We had to capture everything about the © Framestore 2015 Text slide with introduction, using three columns Framestore identity guidelines Shoot completed, post production kicked into gear in January. “The chaotic, transformational nature of the character called for some fresh thinking when it came to rigging,” explains Lead Rigger Kimon Matara. “To manage permutations, a new codebase was established early on, built around Python inheritance patterns. The keyframed performance was layered with algorithmic effects, and a range of limb types were developed that could be animated at any orientation, roaming freely across the body. Deformer technology used to create the Mimics in Edge of Tomorrow helped refine the creature’s flow between states.” 10 “From the start we loved story and the creative that BBDO and Steve Miller came up with” summed up Framestore Producer Raven Sia. “The team make it look so easy to produce this miniature, talking donkey but it all comes down to the extremely talented artists we have here.” © Framestore 2015 Section cover using the grid without image scene throughout the day – sizes, colours, distances, shapes. It was a challenge to get everything done in the time we had, but a great experience overall” Robert said. The team wanted to capture as much of Bella-Bella’s style and overall look in their CG double, so everything from fur clumping to the size of the donkey’s teeth was scrutinised over. Framestore’s in-house grooming system was used to create the style of the fur, whilst the rendering and character development was done in Arnold. 9 Text slide with introduction, using two columns “It comes as no surprise that Framestore delivered on one of the most challenging multi-faceted creatures I have seen in a The shoot took place over a four day period in December with VFX Supervisor Russell Dodgson and CG Supervisor Robert A library of various mechanical parts was created by the modelling team. This asset library was then used to populate the was by far the most challenging part of the ad from a classically CG perspective” said Rob Harrington. “On set it became increasingly commercial. It is not often that artistry, technology, and hard work come together so seamlessly” — Director, Carl Erik Rinsch. Framestore worked with J. Walter Thompson Harrington both in attendance. “It wasn’t like your normal supervising shoot. Carl was constantly whizzing off to get the amount of shooting done in the time we had available, and having the car and helicopter running animated geometry with all the various mechanical parts. It was important to be able to art direct the shape, size and placement of these mechanical parts, as well as how they move independently from each other. apparent that filming the intended tunnel would be a problem, so we suggested creating one in 3D instead. The components were pretty straight forward, but deciding on camera moves and colours is an iterative to deliver a shape-shifting, oil and metal based creature for Shell’s latest spot. Collaborating with director Carl Rinsch, the ad is predictably high-octane, with the stunning Chilean Andes serving as the theatre in which a the same time, coupled with shooting on a Russian arm, it was pretty hectic” said Russell. “We had to capture everything about the scene throughout the day – sizes, colours, distances, shapes. It was a challenge to get Using Houdini’s Bullet Solver we were able to manipulate the behaviour of the mechanical parts as though they were a particle system, using some custom forces to determine how ‘magnetised’ the pieces are to each other as process which doesn’t sit well with long render times. We decided to render the tunnel very neutrally in separate components, letting us re-design it in 2D instead. “ the action plays out. everything done in the time we had, but a great experience overall” Robert said. Shading, lighting and rendering were also big challenges for the team, with road replacements and environment clean-up adding to the workload. “The sheer volume of work the Nuke team got through was Early character designs were done way back in late November 2014, with CG Art Director Grant Walker creating distinct characters Shoot completed, post production kicked into gear in January. “The chaotic, well as setting thresholds for how far a piece can deviate from the rest of the group, until it falls off and becomes independent from the rest of the creature. Using this set-up we were able to manipulate a complex and as well as for the different stages of the ad. “Carl the director had a strong opinion on what he wanted, but gave us a lot of scope to create original designs. The monster had to evolve throughout the ad and demonstrate the transformational nature of the character called for some fresh thinking when it came to rigging,” explains Lead Rigger Kimon Matara. “To manage permutations, a new codebase was established early on, built flexible behavioural system within Houdini, which still adhered to real world conditions such as self collisions and gravity. It was then a matter of building more layers of complexity on top of what we now had; such as making outstanding. A massive number of shots were entirely recreated, with a full environment made for the petrol station to sit in, as well as a large amount of recreation for the bridge environment” Russell added. Matte paintings various threats to the performance of the engine” explained Grant. The monster at the start of the ad was based on a shrimplike primitive creature, before morphing to resemble a spider and finally a gorilla. “The around Python inheritance patterns. The keyframed performance was layered with algorithmic effects, and a range of limb types were developed that could be animated at any orientation, roaming freely across the the pieces emit dust and small debris whenever they collide with each other or with the environment. were also composited into the bridge and petrol station sequences to maintain the spectacular surroundings, whilst a grade by Simon Bourne put the finishing touches on the action-packed ad. concept character originally had more ambiguity to its form, but we made the conscious decision that it should take on more obvious forms. This gave the commercial more interest and the monster more identity.” body. Deformer technology used to create the Mimics in Edge of Tomorrow helped refine the creature’s flow between states.” There was plenty of work to be done “Quote that spans across several lines; more lines but shorter in length are are faster to read than fewer but longer lines” — Surname Name elsewhere, most notably in CG. Not only was the entire car created in CG and used in several of the shots, but the bridge was rebuilt in post, as was the petrol station seen at the end of the ad. “The tunnel sequence © Framestore 2015 Text slide with four columns (to be used only if necessary) 11 © Framestore 2015 Quote or conclusion slide with framed image 65 On-screen presentations (continued) Further examples Key message that goes on one or two lines; this slide also shows how a partner logo can be shown (together with the Framestore symbol and copyright) We are Framestore. We create extraordinary experiences. We combine award-winning craft and relentless creativity with tomorrow’s technologies. We make the impossible possible. We make moving images, content, design and digital for the advertising, entertainment and film industries. We are global leaders in visual effects, having won every major industry award. The making of Gravity We collaborate from the conception of a project and bring a creative and technological problem-solving approach to our partners’ business challenges. We engage consumers through groundbreaking visual experiences that are driven by insight and innovation. We’re proud to offer a scalable talent pool for clients and partners. Our global team is connected through a realtime production pipeline, enabling 900 colleagues to collaborate on projects, wherever we are in the world. Our reputation is built on our trusted relationships. We never stand still and work tirelessly with our partners to deliver their vision. Our talent, experience, and innovative technology continue to help our clients push boundaries and break new ground. Partner logo Slide with key message, full bleed image and partner logo © Framestore 2015 © Framestore 2015 © Framestore 2015 Alternative section or case study cover, with framed image Text slide with introduction, using one column “I am very, very impressed with Gravity” — Buzz Aldrin Shell ‘Shapeshifter’ April 2015 Title that goes on one or two lines if necessary 15 “It comes as no surprise that Framestore delivered on one of the most challenging multi-faceted creatures I have seen in a commercial. It is not often that artistry, technology, and hard work come together so seamlessly” – Carl Erik Rinsch, Director Framestore worked with J. Walter Thompson to deliver a shape-shifting, oil and metal based creature for Shell’s latest spot. Collaborating with director Carl Rinsch, the ad is predictably high-octane, with the stunning Chilean Andes serving as the theatre in which the action plays out. Early character designs were done way back in late November 2014, with CG Art Director Grant Walker creating distinct characters for the different stages of the ad. “Carl the director had a strong opinion on what he wanted, but gave us a lot of scope to create original designs. © Framestore 2015 Title slide with full bleed image Framestore identity guidelines © Framestore 2015 Case study slide with text and framed image 17 © Framestore 2015 Quote or conclusion slide with framed image 66 Client or partner branded presentations In some special cases, presentations might need to be designed in a different way, based either on a campaign or film’s look and feel, or on another brand’s identity. In such cases, our logo should be used on the cover in blue (or light grey, white, if over a photo or dark background). The symbol can also be used on certain pages. HELPING H ETLHPEI NFGU T U HR E EF U AR TU R IRVEE A R R I V E B E N W EBST E N- W D IERST E C-TO D IRR’ S E CTTO R ERAT ’ SMTERNETAT -M FR EN AM T E- STO F R ARMEE STO R E HELPING THE FUTURE ARRIVE Open on a close-up of a man looking to the sky while driving, the warm light of sunrise reflects off the crystal clear glass of the window and in the iris of his eyes. His confident gaze tells us he’s in control. He knows where he’s headed. Though we focus intently on his gaze, we know this story isn’t about the man. It’s much bigger than that. It’s about what we see in the depths of his eyes—the far reaches of the human imagination. We pull out to reveal that the look in the man’s eyes comes not from his confidence behind the wheel, but from the trust he places in the driverless car that is transporting him. Technical information and navigation controls are displayed on the Car window as a HUD. This startling revelation immediately arrests the audience’s attention. This isn’t a car commercial. This feels like the beginning of an epic sci-fi film set in the not too distant future. page 4 Framestore logo on partner or client branded title slide Framestore identity guidelines Framestore symbol on partner or client branded content slide Framestore front / end slide which can be shown before / after a partner or client branded presentation 67 4.2. Printed proposals, treatments, RFIs Matching our on-screen presentations, printed proposals, treatments and RFIs follow the same design principles. We make moving images, content, design and digital for the advertising, entertainment and film industries. We are global leaders in visual effects, having won every major industry award. Guardians of the Galaxy Introducing Framestore Mike McGee, Creative Director & Co-Founder © Framestore 2015 © Framestore 2015 Cover page with framed image With GE’s ‘Invention Donkey’, the possibilities are endless. New best friends, a moneymaking app, maybe even a new way to power the world? Framestore’s New York team collaborated with BBDO and director Steve Miller to deliver this hilarious new spot, featuring real-life donkey actress Bella-Bella. Introduction or key message page VFX Supervisor Raul Ortego was present on set where the donkey was shot against a green screen, with David Hulin also in attendance to take CG references from the animal actress. “We needed to know in advance how much smaller the donkey was supposed to be in the commercial as well as what type of surface it would be standing on” Raul explained. “Radical were the Production Company and built a scaled-up replica of the ground for the donkey to be shot on. Having this prop on set we were able to get good shadows and a correct bouncing light, which really helped further down the line.” The team wanted to capture as much of Bella-Bella’s style and overall look in their CG double, so everything from fur clumping to the size of the donkey’s teeth was scrutinised over. Framestore’s in-house grooming system was used to create the style of the fur, whilst the rendering and character development was done in Arnold. “From the start we loved story and the creative that BBDO and Steve Miller came up with” summed up Framestore Producer Raven Sia. “The team make it look so easy to produce this miniature, talking donkey but it all comes down to the extremely talented artists we have here.” © Framestore 2015 Content page with introduction and body copy Framestore identity guidelines © Framestore 2015 “It comes as no surprise that Framestore delivered on one of the most challenging multi-faceted creatures I have seen in a commercial. It is not often that artistry, technology, and hard work come together so seamlessly” Section title or case study cover page with full bleed image Russell. “We had to capture everything about the scene more layers of complexity on top of what we now had; throughout the day – sizes, colours, distances, shapes. It was a challenge to get everything done in the time we such as making the pieces emit dust and small debris whenever they collide with each other or with the had, but a great experience overall” Robert said. environment. Shoot completed, post production kicked into gear in There was plenty of work to be done elsewhere, most — Director, Carl Erik Rinsch. Framestore worked with J. Walter Thompson to January. “The chaotic, transformational nature of the deliver a shape-shifting, oil and metal based creature character called for some fresh thinking when it came CG and used in several of the shots, but the bridge for Shell’s latest spot. Collaborating with director Carl Rinsch, the ad is predictably high-octane, with to rigging,” explains Lead Rigger Kimon Matara. “To manage permutations, a new codebase was established was rebuilt in post, as was the petrol station seen at the end of the ad. “The tunnel sequence was by far the notably in CG. Not only was the entire car created in most challenging part of the ad from a classically CG the stunning Chilean Andes serving as the theatre in early on, built around Python inheritance patterns. The which the action plays out. keyframed performance was layered with algorithmic effects, and a range of limb types were developed that perspective” said Rob Harrington. “On set it became increasingly apparent that filming the intended tunnel Early character designs were done way back in late could be animated at any orientation, roaming freely would be a problem, so we suggested creating one in 3D November 2014, with CG Art Director Grant Walker creating distinct characters for the different stages of across the body. Deformer technology used to create the Mimics in Edge of Tomorrow helped refine the creature’s instead. The components were pretty straight forward, but deciding on camera moves and colours is an the ad. “Carl the director had a strong opinion on what flow between states.” he wanted, but gave us a lot of scope to create original iterative process which doesn’t sit well with long render times. We decided to render the tunnel very neutrally designs. The monster had to evolve throughout the ad and demonstrate the various threats to the performance A library of various mechanical parts was created of the engine” explained Grant. The monster at the by the modelling team. This asset library was then in separate components, letting us re-design it in 2D instead. “ start of the ad was based on a shrimp-like primitive creature, before morphing to resemble a spider and used to populate the animated geometry with all the various mechanical parts. It was important to be Shading, lighting and rendering were also big challenges for the team, with road replacements and environment finally a gorilla. “The concept character originally had able to art direct the shape, size and placement of clean-up adding to the workload. “The sheer volume of work the Nuke team got through was outstanding. A massive number of shots were entirely recreated, with more ambiguity to its form, but we made the conscious decision that it should take on more obvious forms. these mechanical parts, as well as how they move independently from each other. Using Houdini’s Bullet This gave the commercial more interest and the Solver we were able to manipulate the behaviour of monster more identity.” the mechanical parts as though they were a particle as well as a large amount of recreation for the bridge The shoot took place over a four day period in system, using some custom forces to determine how ‘magnetised’ the pieces are to each other as well as environment” Russell added. Matte paintings were also composited into the bridge and petrol station sequences December with VFX Supervisor Russell Dodgson and CG Supervisor Robert Harrington both in attendance. “It wasn’t like your normal supervising shoot. Carl was “Quote that spans across several lines; more lines but shorter in length are are faster to read than fewer but longer lines” — Surname Name a full environment made for the petrol station to sit in, setting thresholds for how far a piece can deviate from to maintain the spectacular surroundings, whilst a the rest of the group, until it falls off and becomes independent from the rest of the creature. Using this grade by Simon Bourne put the finishing touches on the action-packed ad. constantly whizzing off to get the amount of shooting set-up we were able to manipulate a complex and done in the time we had available, and having the car and helicopter running a the same time, coupled with as well as flexible behavioural system within Houdini, which still adhered to real world conditions such as self shooting on a Russian arm, it was pretty hectic” said collisions and gravity. It was then a matter of building © Framestore 2015 Content page using three columns © Framestore 2015 Quote page with framed image 68 “I am very,  very impressed with Gravity”  — Buzz Aldrin © Framestore 2015