From our initial creative discussions with Telecom New Zealand director Michael Spiccia we knew we needed to find a methodology to the FX that was both flexible in its approach but also streamlined in order to meet with a tight schedule turnaround. Because Michael wanted to steer away from restrictive, locked or rigid camera moves we knew that temp-mort (Time-splice) or motion control was out of the question. Instead we decided a combination of practical execution with integrated CG FX would tell the same story only in a much more engaging and immediate way. We used pre-viz to build each location technically accurate and built our virtual cameras to adhere to the conventions of the camera equipment and lenses that would be later used on set. Once our scenes and cameras were set up and configured, we animated each scene with Michael and built an edit. The pre-viz edit became a shooting board as well as providing key production departments with crucial onset schematic information. On set, the talent and props were rigged to hold their positions. Their clothes, hair and accessories were set and cast prior to look frozen in action. Once completed, the pre-vized edit and scenes could be handed over to the CG particle team for final simulation and FX work. Shots could be pre-tracked and renders were supplied ready for comp even prior to the shoot.

Pre-viz was a vital part of the process. It allowed us to replicate the locations technically pitch perfect in 3D so that Michael could then design his shots ahead of the shoot. It gave us the flexibility to create a technically accurate blueprint for the final TVC which we could then hand over to our CG team to commence all the particle simulations and 3D asset building. We teamed up with Ignite to collaborate on creating what would eventually become the smoke, fire, glass and debris elements we see in the final result.

Extensive data was taken of the location and sets. Detailed measurements and photographs were collated so virtual sets could be built in Maya. We staged the scenes with 3D props and posed the talent. Our 3D cameras were lensed and rigged to match the same lenses and camera gear that would be used on set. Our virtual environment was set to adhere to the conventions of the real world shoot.

The technical accuracy of our virtual sets meant we could begin FX work on key scenes straight away. Takes could pretty much be approved on set and handed straight over to the FX team to start tracking and lighting. It become a huge scheduling advantage, our 3D team could get a head start on producing complex FX sequences that would normally take weeks in post-production. Instead 3D renders were being delivered to the compositors within a few days.

CG Particles & fluid tests were rendered just prior to the shoot. It gave us a perfect guide for art department, lighting and framing when lining-up each shot.

The Camera, Rigging, Grip and Art departments used technical schematics taken from the virtual sets to dress the sets, prep talent rigs and set tracks and technocranes. Normal set-up times for prep where greatly reduced and more shots could be achieved in a shoot day where 2 or 3 would be shot using temp mort (time-splice) or motion control.

The previs allowed us to begin the process of test smoke simulations which could then be rendered in the context of the sequence and the lensing of each shot. When shooting this sequence we knew exactly where the talent and lights needed to be.

We found it an efficient workflow to physically rig larger objects and remove them in post rather than embark on a full CG approach. The glass shatter test was used to trial the shape and amount of shattered glass prior to the shoot.

Telecom New Zealand was an opportunity to flex our creative muscles and in spite of a tight delivery deadline with a number of complex technical sequences that needed to be achieved with a seamless photo real execution, we jumped at the chance. In the end, because we started all of the finishing conversations early we were able to get the best results out of our final compositing stage. The process became a very streamlined one, from shoot right through to Online. We were able to utilise the team’s time to the best possible advantage - crafting the final pictures into a seamless whole. We hope you found it as rewarding to watch as we found it to work on!