To mark the launch of Invictus Platinum, “a radical and elegant cocktail”, Paco Rabanne unveils the new face of Invictus, NBA star Jalen Green, in a film directed by Tino (Airton Carmignani) and produced by LoveBoat.
Between legendary sports scenes from the past and images of today’s athletes, Invictus highlights the power we all have within us. From boxing to bodybuilding, to dancing, to running, basketball or motocross, Invictus is committed to highlighting the practice of sports and surpassing ourselves through very diverse profiles.
For the scenes from the past, those of Jesse Owen and John McEnroe, our Parisian artists reworked the images to give them a new quality. To do this, we had to recreate the textures and pixel the archived photos. In addition to this texture work, our artists created two impressive scenes in full CG. The first one showed various CG elements: a Ferris wheel, a tyrannosaur, cars, planes in the sky… The second, very epic, showed the basketball player and muse Jalen Green jumping, basketball in hand, followed by order of white horses coming out of the clouds. The horses had to fit perfectly into the clouds, as if they were part of them, to create a dreamlike atmosphere. After a long search for references, our artists made the entire horses’ anatomy and movements, passing successively through the stages of the rig, animation, fx and simulation to bring the final details, particularly the movements of the hair. Finally, thanks to lighting and rendering work, get reflections in the animal’s coat. The real-time simulation of the horses was then adapted to the scene shot in slow motion of Jalen, concluding the film.
“I was VFX supervisor and executive creative director on the Invictus Platinium project directed by Tino and represented by Loveboat production. I thought this commercial stood out both for its message of inclusion and self-confidence and its aesthetic appeal. Together with Françoise Jacquet, creative director at Puig and Greg Panteix, producer, we have written a new chapter in the Invictus saga. Tino did an exceptional job finding unique locations in Madrid and working on the present and past sequences. ”
“I focused on the two scenes in full CG, the scene with the Ferris wheel and the tyrannosaur and the scene with the horses in the clouds. The most difficult one was the simulation of the horses in the clouds. First, we had to study the anatomy of the horses to be able to reproduce them fully in CG. With Marion Respaud, fur artist, we managed to recreate the animals to the last detail (hair on the nostrils, cheeks, coat, play of muscle contractions with the hair...) in full CG via Houdini, a first for us! The second difficulty was the rhythmic adaptation of our simulation created in real-time to Jalen Green's scene shot in slow motion. A successful challenge thanks to the determination of the whole team! ”
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