Thomson "Simon the Ogre"

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  12 December 2013
Thomson "Simon the Ogre"

Finally released after a long journey of more than 4 months from concept work to finish and quite a challenge but I believe the amount of love we have put into the project is visible.

The commercial
https://www.youtube.com/watch?v=JXNJA1yGn-8

Official Behind the Scenes
https://www.youtube.com/watch?v=NxwrpRVhCvw
https://www.youtube.com/watch?v=qPd...FgPJBcwYnvRamTg


I will be putting together a little technical making of as I believe we have managed to marry successfuly the state of the art prostetics work done by Vincent Van Dyke with our sophisticated CG work.

Very proud, hope you like it as much as I do.
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Jordi Bares - Creative Director @ Framestore London
http://www.framestore.com - http://www.jordibares.com
 
  12 December 2013
Bravo, really well done.
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Steph
Portfolio
 
  01 January 2014
Cute ad, really nice 'making of' clips, well done!
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The terminal velocity of individual particles is directly related to pink rabbits on a bank holiday.
Characters, Games, Toys
 
  01 January 2014
I don't get all the hate for this ad in the comments on Youtube, imo it was very well done.
 
  01 January 2014
It is Youtube after all, never read the comments but thanks, we (all of us) put a lot of love on these projects and this one is particularly special.

Originally Posted by Almie: I don't get all the hate for this ad in the comments on Youtube, imo it was very well done.
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Jordi Bares - Creative Director @ Framestore London
http://www.framestore.com - http://www.jordibares.com
 
  01 January 2014
Great work Jordi! Would love to hear a bit more about the face rig and animation, the making ofs didn't spend a lot of time on that section.
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www.matinai.com
 
  01 January 2014
lovely work Jordi.

I had the exact opposite effect when I choose a Thompson holiday, they messed me and my wife so much I ended up as an Ogre. Would never use them again.

The ad is great though
 
  01 January 2014
Thanks… regarding the rig of the face it was something we experimented for a couple of weeks until we settled for the right approach and given we had as a consultant and sculptor the mighty Scott Eaton it was very very very accurate blend shapes the option.

We did inject a muscle system to the equation but we decided to use it only on a couple of places given that the face didn't really required a lot of volume changes, jiggle or any other large muscle approach.

Instead we rigged it as hero blend shapes (lots of them) and then added secondary controls for mouth, eyes and the like so the animators did a lot of heavy lifting to get the feeling of skin flexibility but we did aimed for that hand touch to make it less CG.

What we did is reconstruct the neck in a very interesting way and run FEM simulations in houdini 13 (yes, we are mad but the results really paid off and given we have some very serious talent in house it was quite doable). The end result was a much more accurate skin relaxation to connect both the face and the body which was the secret sauce of the job and one of the most complex things in it. Something I seriously think many would not have even dare to touch for a commercial.

Hope it clarifies a bit.. I will try to get into more detail on a post later on but wanted to make sure you got an answer quick.

Originally Posted by mattmos: Great work Jordi! Would love to hear a bit more about the face rig and animation, the making ofs didn't spend a lot of time on that section.
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Jordi Bares - Creative Director @ Framestore London
http://www.framestore.com - http://www.jordibares.com
 
  01 January 2014
Very nice work Jordi, you guys should feel proud of that work.
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DISCLAIMER: This message represents my own opinion and does not reflect in any way the opinion of my employer .
 
  01 January 2014
Wonderful add - this is a real gem.

But ...

It does mean I really do need a holiday! ;-)
 
  01 January 2014
Originally Posted by jordibares: Thanks… regarding the rig of the face it was something we experimented for a couple of weeks until we settled for the right approach and given we had as a consultant and sculptor the mighty Scott Eaton it was very very very accurate blend shapes the option.

We did inject a muscle system to the equation but we decided to use it only on a couple of places given that the face didn't really required a lot of volume changes, jiggle or any other large muscle approach.

Instead we rigged it as hero blend shapes (lots of them) and then added secondary controls for mouth, eyes and the like so the animators did a lot of heavy lifting to get the feeling of skin flexibility but we did aimed for that hand touch to make it less CG.

What we did is reconstruct the neck in a very interesting way and run FEM simulations in houdini 13 (yes, we are mad but the results really paid off and given we have some very serious talent in house it was quite doable). The end result was a much more accurate skin relaxation to connect both the face and the body which was the secret sauce of the job and one of the most complex things in it. Something I seriously think many would not have even dare to touch for a commercial.

Hope it clarifies a bit.. I will try to get into more detail on a post later on but wanted to make sure you got an answer quick.


Thanks for the reply! Even watching it closely now the cg is seamless, the simulation pain was definitely worth it. Nicely done chaps.
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www.matinai.com
 
  02 February 2014
A bit more info

http://www.fxguide.com/featured/how...n-7-easy-steps/
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Jordi Bares - Creative Director @ Framestore London
http://www.framestore.com - http://www.jordibares.com
 
  02 February 2014
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