CASE STUDY |
This infographic was to be a high profile piece, it had to measure up to a number of different criteria, it was going to be used on a global scale at international events, it was going to visible all over the world at various international trade symposia and it had to be able to convey the key specifics DCTA wanted to impart to their global audience. So an engaging and dynamic approach was required where the visual style would help bridge language and cultural differences and keep the viewer interested.
The script and voice over was still being fine tuned. As well as a fair amount of voice over, there were also large scale to small scale transitions to consider - these had to be fast but not jarring or impact the flow of messaging and story being told, yet we had to keep the final length to under four minutes. The final look and feel was still being thought through.
Both client and creatives had already gone through many storyboarding and scripting phases to narrow down the key-line messaging they wanted to impart. In all, we had about three weeks to create the finished four minute, full HD sequence before it was due for its premier at a prestigious global event. Time against us all, budgets and contingencies agreed - it was time to get busy!
We set up a working blocking animatic based on all the information we had, with flexibility and padding for areas of script and VO that had not been finalised. We were then able to establish what parts of the project would be 2D, 2.5D and 3D.
For the earth shot we used various simulation and particle effects in 3D for the transit lines, we were able to re-use this set-up to mimic the mobile phone network connectivity that appears later in the sequence. To overcome some of the vast distance transitions we agreed to use sliding lens device that you could see fall in front of the camera - this was introduced early on in the sequence so the viewer gets used to what this does - it enabled fast transitions, kept pace and saved us production time.
For the environment we created one large 3D terrain that catered for all the land based shots. 3D camera data was transferred between various systems to ensure the continuity and placement of other graphical components in the compositing and final output stages.
The flexibility in the set-up up allowed us to fine tune some of the shots and re-organise their pace and makeup to enhance the flow of the finished piece. This also allowed us to shift some of the timings to accommodate the last changes made in the scripted VO
Rendering was fairly straightforward with several passes [3D layers] created to allow more control in post production - including a depth pass that gave control over all DOF in the composting stages - combined with exported 3D camera data, this enabled the manipulation of all the 2.5D assets that were tracked in composition to all the 3D camera moves for a precise and seamless match. It also allowed the additional 2.5D elements to be refined at the same time as they were updated and edited in a different stream from the main 3D shots.
Final grade options were sent for final client approval, the final look that won the day was a stylised night-time feel - all achieved in the final composition. The various versioning was completed and encodes were created for all of the target platforms - full HD screen and projection, tablet, mobile and web.