- Leo Burnett
- Production Company
- Mark Molloy
- Color Grading
- Company 3
- Method Studios
- Los Angeles
just over seven billion people in the world today and a massive six billion
mobile phones in operation, it’s clear that our portable, handheld lifelines
are here to stay. But what about mobile security? Our phones are a gateway to
private data and the recent online campaign by Norton highlights this in a
surprisingly artistic way.
Directed by Mark Molloy, the commercial contains a single camera move which floats gently through a back alley of a big city. The journey allows the viewer to peer into each window and witness something the resident would most likely want to keep private. On closer inspection the windows of the apartment buildings appear to be cell phone screens, emphasizing that our phones have become a window into our lives and contain private information that we need to protect.
MERGING 3D WITH 2D
Led by VFX Supervisor Jason Schugardt, Method was tasked with creating the entire city environment in CG. Such a demanding camera move dictated this 3D approach, but in addition to the photo real CGI challenge was the requirement of adding live action footage of the interiors, and making sure the angles matched up with the virtual camera move.
The shoot involved filming each of the seven hero rooms separately over three days and two stages in Auckland, New Zealand. “We knew it was essential that we carefully previs’d the entire move in 3D before arriving on set” recalls Jason. “This meant we would be able to feed the motion control rig the proper data to execute the move. Mark loves to shoot anamorphic on the new 4:3 Alexa and we began previzing as soon as the job booked and worked all the way up to the day before the shoot to perfect the move.”
Meticulous planning led to a successful shoot and Method’s CG building fitted directly over the room onset.
motion control rig was unique in that it had an especially large boom arm to
move the distances and heights that were required. The long arm introduced vibration and bounce that wasn't anticipated in
the CG camera move so the team overcame the perspective shifts by tracking
the interior shots in 3D and projecting them back using a smoothed virtual move.
“It was a massive combined effort of modeling, texturing, lighting, matte
painting and compositing to create the fully CG environment” summarizes Jason.
“We are really happy that Leo Burnett Chicago gave us such a challenging
creative to execute and I’m really pleased with the result.”