Leading 3D and Flame artists Alastair Hearsum and Duncan Malcolm worked tirelessly to make sure that this project was as strong in execution as it was in concept. Their 2D team consisted of an additional 4 compositors working on Autodesk Flame systems for 4 weeks with the whole project taking a total of two months to complete.  Written by BBH creative team Caio Giannella and Diego Oliveira, with Justin Moore and Hamish Pinnell as creative directors, the film was shot by director Ne-O (Stink) on location in Iceland the extensive production required a village to be built from scratch and involved hundreds of extras. Both Alastair and Duncan attended the three-day Summer night shoot to supervise filming from the compositing perspective and to take photos to assist in the Matte painting extravaganza that was to follow. The Icelandic midnight light gave the ‘dull even illumination’ required for the commercial.

 “Our main task was to create the interior sphere-world that these people inhabited. We had a good start with the sort of volcanic setting however the location was not sphere like. I took many hundreds of photographs of suitable landscape elements from the ground as well as many more on a night helicopter shoot with a nose mounted computer controlled stills camera and a hand held camera out the window.”  Alastair

Returning to the Glassworks facility in London, the team massaged the location photographs into the weird and wonderful landscape featured in the commercial. The 3d team further contributed CG clouds, CG wide crowd shots driven my motion capture and the expansion of the few real houses into a whole CG village complete with tumbling barrels and other items.

“ Working with the B-camera crew on the shoot and hundreds of extras to film multiple layers of walkers which made up the larger crowd scenes meant that he camera angles and actions were partially worked out in the pre-viz before going to the location. Great care was taken throughout the job to retain a high level of photographic realism and so one of the biggest challenges was getting across the weirdness of the spherical world whilst retaining natural camera angles, composition and movement. “  Duncan

In this fully interactive campaign, consumers in each participating market will be urged to debate and ultimately decide which initiative they think has the most potential to shape the future in their country.