| Title | COLISEUM |
| Brand | SAMSUNG |
| Product/Service | CURVED UHD TV |
| Category |
A09. VISUAL EFFECTS |
|
Entrant Company
|
CHI & PARTNERS London, UNITED KINGDOM
|
|
Advertising Agency
|
CHI & PARTNERS London, UNITED KINGDOM
|
|
Production Company
|
PARK PICTURES London, UNITED KINGDOM
|
Credits
| Jonathan Burley |
CHI/Partners |
Executive Creative Director |
| Jonathan Burley |
CHI/Partners |
Creative Director |
| Micky Tudor |
CHI/Partners |
Copywriter |
| Monty Verdi |
CHI/Partners |
Art Director |
| Matt Cresswell |
CHI/Partners |
Agency Producer |
| Stephen Brierley/Claris Harvey |
Park Pictures |
Production Company Producers |
| Nathan Price |
Park Pictures |
Director |
| Ginny Loane |
Freelancer |
Dop Lighting Cameraman |
| Paul Hardcastle/Jonno Woodford/Robinson |
Trim/Fusspot |
Editors |
| Franck Lambertz |
MPC |
Post Production |
| Sam Ashwell |
750MPH |
Sound Design Arrangement |
| Emma Modler |
CHI/Partners |
Art Buyer |
| Gary Simmons |
CHI/Partners |
Account Supervisor |
| Ryan Colet |
CHI/Partners |
Account Director |
| Anthony Cox |
CHI/Partners |
Planner |
| Oliver Egan |
CHI/Partners |
Planner |
| Franck Lambertz |
Freelancer |
Cgi |
Brief Explanation
This cinematic spot, filmed in 4K, finds a modern day father and son in the middle of an ancient coliseum. A baying crowd and gladiators at the command of a despotic emperor surround them. Tension mounts. At the emperor’s signal, the bloodthirsty warriors attack. Just as it seems their days are numbered, the father and son are transported back to their living room where we discover they have been completely immersed in the action while watching their cinematically curved UHD TV from Samsung.
One-quarter of the Coliseum was built and filmed on set. Consequently, the post-production task was to build the remaining three-quarters of the Coliseum and other core scenes entirely with VFX.
MPC’s VFX team utilised their proprietary crowd replication technology, ALICE to take the 200 extras and build up a baying crowd of over 10,000. Every crowd member was meticulously detailed with a combination of in-camera plates, 3D effects and additional detailed matte painting. Whilst the cinematic wide shot was developed initially using matte painting and built up in CG.
Since 4K's nature picks up every minute detail, there was no other option, but to deliver something flawless, by utilising a complex and innovative range of VFX techniques.
Creative Execution
The spot was shot and delivered entirely in 4K, which had its unique challenges, in its unforgiving nature. Viewing the spot on a 4K monitor, the detail’s 4 times clearer –individual expressions on crowd members are amplified, bespoke details on every character are highlighted and the architecture - concrete and wood, textures and lighting, all required an intense attention to detail.
MPC’s VFX team began with a detailed 3D pre-vis and concept drawings before the shoot. The production crew erected a quarter of the bespoke coliseum, which was then replicated in 3D back in the studio.
Amplifying the cinematic experience, tiers of the coliseum were extended and details added to the set. Having researched antique Roman vestiges, details were changed and embellished including the wood type and tiny inscriptions visible on it.
The opening shot was generated with a variety of techniques, starting with a detailed matte painting. The 3D team then modeled the area and surrounds - from the boat on the lake to individual leaves on the trees.
Director Nathan Price captured as much as possible in-camera but even with hundreds of extras the stadium was only half full. A 3D crowd was generated for some shots using ALICE, MPC’s in-house crowd replication software, originally developed for feature films - taking the 200 extras and building a crowd of over 10,000. 2D plates were used to produce the foreground crowds. Close-up crowd shots were shot as HD plates with a green screen and built up into the scene.