Details on the new Genesis TV Commercials
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Digital Arts Online - London,UK
Asylum pulls out all the VFX tricks for an intriguing campaign directed by Christian Loubek of Anonymous Content for Hyundai Motor America.
0-60 opens on an expansive test facility where the Hyundai Genesis prepares for launch. The anxious revving of the engine and trailing overhead lights leads to lift off. The camera shakes in the wake of its off-the-line power leaving no doubt in the Genesis’ ability reach 60mph in 5.7 seconds.
Camera Tumble features a lone Hyundai Genesis hurtling around a racetrack. The following camera car cannot keep up with Genesis and as the G force of the turn reaches its peak the camera slips off the tracks, crashes and watches the Genesis race into the distance in its own dust cloud.
Collision is an unsettling build up as a Hyundai Genesis and crash-test blocker are set on a collision course. The braking performance of the Genesis appears to have saved it until a surprise rear-end crash from another sneaky blocker.
In
Clocks, a sea of loudly ticking timepieces surround the car and hang motionless above it. There is a terrible cacophony as every clock strikes 1 o’clock at the same time. We move to the inside of the Hyundai Genesis and hear nothing, despite the visible evidence of blaring alarms.
"We were fortunate to collaborate with Christian (Loubek) from the very beginning," says Asylum VFX supervisor Paul O'Shea."The planning and execution of these spots required extensive set extension, matte paintings, beauty work and CG. All the work had to be invisible and seamless while being completed in a compressed schedule.
0-60 was shot on a runway at night. The test facility exterior at dusk is entirely digital as is the overhead light rig. The interior was also shot outside and the set extended (in post) and brought to life..
"The success of
Camera Tumble is thanks to the ingenious rig that was created by Christian’s team," says O'Shea. "It ran along the road behind a camera car and rotated with enough control to get the shot. Our challenge was to comp into this very shaky move and create the test facility buildings, road graphics, dust and debris while also achieving whatever car beauty work was necessary.
In
Collision, the Paramount backlot and an airport runway were married together and made to appear as if they were inside a giant testing dome that was created in CG.
"The blockers that chase and ultimately crash into the car were run on tires that we replaced with a CG carriage and CG rails," says O'Shea. "It was important not to limit the camera movement so that the blockers could be found during a shot and that our work didn’t compromise the eerie mood Christian created.
"
Clocks was a very unusual shoot, the art dept sourced every available clock to get as much practically as possible which made for a very surreal set. Our job was to extend, multiply and in some cases animate the clocks and to comp the facility environment and floor graphics within and around them. This work had to be reflected in the car which was polished up with multiple telecine passes."
