A mix of physical sets, matte paintings and stock footage helped to create the locations that the vehicles were driving through
Once the commercial was in its final stages of post-production, there was still a lot to do as Hofmeyr explained: "We introduced film and video textures and artefacts that accurately represented the look and feel of archival footage. Whether it was adding film grain, video ghosting or archival ageing, we worked to strike a careful balance to make the resulting commercial feel seamless and authentic."
When it came to working on the CG vehicles, things had to be photorealistic from every angle - meaning a crucial modeling and texturing phase to create a strong platform for lighting and shading artists.
We were literally modeling nuts and bolts. Even the windscreen wiper had all of its clips and mechanisms in fine detail
"Since we didn't have the real car to photograph, finding detailed references was a big challenge," Hofmeyr said, "We had to rely on schematics and images found online. In the end, we were literally modeling nuts and bolts. Even the windscreen wiper had all of its clips and mechanisms in fine detail. Fortunately we use MODO as our modeling weapon of choice. Its substantial tool-kit helped us to turn out a clean, detailed 165k polygon model."
Close-ups made for another crucial element: texturing. The 787B prototype racing car for example ended up layered out over 20 UV tiles, each map - bar one - being 4k. The 'bar one' in question? Housing the close-up portion of the car, it was actually switched out for an 8k map. BlackGinger artists also used MARI to deal with these highly detailed assets. In particular, its patch resize tool really helped to capture fine details like scratches.
BlackGinger introduced film and video textures, and artefacts that accurately represented the look and feel of archival footage, such as film grain, video ghosting and archival ageing
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