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Gillette

Homage

Gallery

Summary

In BBDO NY and Director Markus Walter's new epic spot for Gillette, muscle-bound Egyptian men haul stones uphill to build the Pyramids, the Wright brothers take their first flight, explorers battle the stormy seas in search of undiscovered lands and man takes his first tentative steps on the moon. Talk about some sweaty situations!

Shot in Prague over the course of four days, the Wright brothers' flying scene was first on the schedule. Production was meticulously choreographed-perfect location, era-authentic costumes, 35mm film and an official Wright brothers' plane replica. Since less-than-optimal wind conditions hindered the crew from getting the plane in the air, wheels were attached and later removed in post.

On Day Two of the shoot came the man on the moon scene. According to Shoot Supervisor and Lead 2D Artist Danny Morris, "This was a complete 2D approach. We had to shoot the spaceman with no glass in his visor as the whole set would be reflected over his face. The moon environment was then constructed in Flame and reflected in his visor in post. For the top shot, a CG lunar lander was added. All shots required moon texture painting, shadow rebuilding and some flares added to give the whole section a nice feel."

The Pyramids scene was next on the docket. Shoot Supervisor and Lead 3D Artist Chris Bernier mocked up CG camera moves and pyramid placement so the crew could visualize what CG pyramids would look like in the background. Not having to shoot real pyramids ultimately freed up time to shoot people to composite into the wide shot. The CG pyramids were composited on a desert sky with atmosphere such as dust added in flame. A lot of texture work was done on the pyramids in Flame to make them look photo-real. The people in the scene are a mixture of CG Massive people and actors shot on that day.

The last day of shooting was dedicated to the explorers' scene. The crew used a model ship for the wide shots and created a CG ocean. The ocean was then composited with many layers to create the feeling of a vast, menacing sea.  Stormy skies, lightening and rain were added using Flame. The 3D team made flags for the ship and created realistic water interaction. Morris notes, "The trickiest part of the comp was making the boat visible without compromising the realistic look of the shot."

The color that gives each sequence its authentic, time-weathered look was done by Senior Colorist Fergus McCall.

Credits

Agency

  • Agency: BBDO
  • Producer: Tom Sann
  • Creative Director: Executive Creative Director: Toygar Bazarkaya
  • Creatives: Art Director: Daniel Aykurt, Copywriter: Alessandro Fruscella

Production

  • Production Company: Anonymous Content
  • Director: Markus Walter
  • Producer: Jeff Baron

Editorial

  • Editing Company: Cut and Run
  • Editor: Jay Nelson
  • Edit Assist: Georgia Dobson

Post-Production / VFX

  • Post-Production / VFX Company: The Mill
  • Executive Producer: Adam Isidore
  • VFX Producer: Rachel Stones
  • Shoot Supervisor: Danny Morris, Chris Bernier
  • Creative Director: Angus Kneale
  • 2D Lead Artists: Danny Morris
  • 3D Lead Artists: Chris Bernier
  • 2D Artists: Gigi Ng, Dan Williams, Randy McEntee
  • 3D Artists: Joji Tsuruga, Justin Kurtz, Mike Marsek, Hassan Taimur (Crowd Effects/Massive), Jackie Liao, Myung Gong Lee, Dave Barosin, Stan Ilin
  • Colourist: Fergus McCall
  • Design Creative Director: Jeff Stevens, Graphics Animation: Justin Demetrician, Robin Greenwood, Rob Roth
    Assistant Colorist: Josh Bohoskey, DJ Miranda
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