OSRAM Dot-It

OPTIX Digital Pictures did it.

"The goal for our "Dot-It" campaign was to eloquently mix the product with real-world and fantasy-world surroundings. The motifs from the print campaign were used as templates: The real "Dot-Its" were part of different shapes and objects such as skateboards and lighthouses. These object motifs were also created by OPTIX Digital Pictures GmbH."

The realization was made possible by putting an illustrator, several 2D and 3D artists, and a complete film team into operation. All of the 3D elements were created using CINEMA 4D. The biggest challenge was the transformation of the vector-based campaign illustrations into living 3D shapes. After all the modeling was completed they created a scene that was big enough for the motifs to come to life in a single take.

"In the case of the sketched look we utilized the a Sketch and Toon shader with a hard Fresnel effect in the Luminance channel. The product at this point was then finished in compositing and refined with a structure as well as some other small graphic elements. The structure and color of the walls changed with each motif. The products themselves were integrated into the scenes as a combination of real footage and 3D models. The combination of those two sources created another challenge: A seamless transition between both sources was needed. To accomplish this, the filmed material was textured via camera projection onto the "Dot-It" 3D models and blended over the digital “Dot Its” in the final pull-back shot. For the use in CINEMA 4D, the original CAD data was made available. Some optimization was necessary before this data could be used."

The rendering was optimized so it could be composited in After Effects. Because of that, different versions of the scene were created so the "Dot-Its", the walls and the drawings were generated as separate elements, each with its own settings. This sped up workflow and lowered render times, leaving plenty of room for subsequent adjustments. An additional scene was added for the contact shadow of the "Dot-Its", which meant a very render-intensive “ambient occlusion pass” could be omitted.

In addition to the separate scenes, all the possibilities of Multi-Pass rendering were used. The flexible adjustment of the strength of shadow, reflections and motion blur weren’t a problem in subsequent compositing in After Effects. By using the CINEMA 4D scene export to After Effects we were able to add numerous blend effects as filters. In the end, it is an attention-getting commercial with great themes and a chart-breaking soundtrack, which you won’t get out of your head any time soon.

More Information

OPTIX DigitalPictures
www.optixdigital.de