Features | |
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Crash and Burn |
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Spot Focus : Good Stuff |
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Percy jackson and the Olympians |
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Making Of Long Journey |
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The Making Of Salty |
News Headlines | |
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Baby Data |
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Brickyard VFX for Toyota Nascar |
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IT'S ART Archive |
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This Shall Pass Too |
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CG Gallery Awards - Febuary 2010 |
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The Making Of unleashed |
Other Features | |
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Death to all Iron Warriors |
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Making Of Dominoes |
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Shilo for Census |
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Making Of Cable |
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Toy Story Concept Art |
When you view the finished project, what are you most proud of, and why?
What was i most proud of, well firstly the work that was created by the team at A52. It was a small crew of three that created the cg and i think they did an outstanding job in producing beautiful work. Also that the spot really did fulfill everything i wanted and had envisioned for the piece, its very satisfying when the initial idea that one has looks the same as the finished piece of work. Thats as much a testament to weiden & Kennedy and Nike as it is to crew here, because they trusted us to create something and really allowed that flourish.
What hardware and software was used to create and finish the project?
Maya and mental ray were used for the creation of the project and also ZBrush. Shake was used for compositing and Inferno. ALso the Canon 1D camera was used to create the backgrounds that became the framework for the shots.
AH : Well because of the nature of time frame and cost constraints, it lead to being both very lean and productive. I decided to shoot the plates myself, using a canon 1d camera. I shoot all the plates at 12 frames per second for the realtime shots and a series of time-lapse shots over a number of days both used in the spot and for reference. I had an idea of the type of shots. I wanted but also left it little to chance and just found stuff that I thought could be effective backdrops for the action. I wanted to give the piece a documentary feel, more like studies than orchestrated shots. So the shots organically drove the pace of the spot. We then set about creating the spider and the webs it laid down to form the shoe, taking a influence from the shoe design, Max Ulichney created the look of the spider to be an extension of the shoe. i think the most challenging aspect was creating time-lapse shots that needed to live with the live-action and also creating the believability to the performance and storytelling.
Credits :
Project Name: Nike "Spider"
Ad Agency: Wieden+Kennedy Tokyo
Art Director: Chris Hutchinson
Copywriter: Driscoll Reid
Agency Producer: Jen Dennis
Production Company: Elastic
Director: Andrew Hall
Executive Producer: Alex Gorodetzki
VFX/CGI/Finishing Company: a52
VFX Supervisor: Andrew Hall
2D VFX Artist: Simon Scott
3D VFX Lead Artist: Max Ulichney
3D VFX Artist: Franz Vidal, Eli Guerron, Adam Newman
Executive Producer: Ron Cosentino
Producer: Jenny Bright
Sound Design: Stimmung
Sound Designer: Gus Koven
