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阿黛尔
案例简介：MPC 创意和 TBWACHIATDAY 风暴格莱美与 BON IVER，阿黛尔 MPC 创意为格莱美奖创造了一对视觉上令人惊叹的景点，一个由 Bon Iver 主演，另一个由歌手兼歌曲作者阿黛尔主演。导演瑞安 · 诺尔斯和丹 · 马什，执行制片人保罗 · Abatemarco，以及 MPC 制作负责人珍妮 · 布莱特在活动中与 TBWAChiatDay 密切合作，帮助开发更广泛的外观和感觉, 四个点的活动，处理两个点从概念到完成的全部生产工作。这是一个全面的努力，包括从实用摄影到 2D 和 3D 动画到合成的一切。Chiat 与 MPC 创意公司接触，有机会与代表格莱美品牌的顶级艺术家合作，到 9月，该团队已经在努力工作。 Bon Iver 在一个小池塘周围的树木的田园冬季景观上打开，Bon Iver 的 “全新世” 节拍在现场颤抖。当人声进入歌曲时，雪景的元素开始萦绕在空中，他们的运动是由歌曲的节奏驱动的。相机显示，这个场景实际上是一个精细细致的微缩世界，一个想象中的有限景观漂浮在音乐驱动的风带走了粒子元素，就像它们是成群结队的鸟。这些元素首先融合在邦因弗的贾斯汀 · 弗农的三维轮廓中，然后融合在格莱美的口号中: “我们是音乐”。" 诺尔斯和马什与制作设计师吉迪恩 · 韦伯斯特合作，利用树枝、棉花、面粉的创造性组合，在旋转平台上制作了一套复杂的 40 英寸套装, 和其他类似火车的元素。MPC 创意故事提前登上了现场，以确定吉迪恩需要建造什么。 当韦伯斯特设计微型布景时，工作室在 previz 上工作，以确定如何以适当的比例拍摄微型，使用哪些镜头，以及拍摄的距离和时间。拍摄结束后，MPC 的马克 · 吉辛和德里克 · 汉森对现场的实际部分进行了评分，而 CG 艺术家则开发了与音乐相关的粒子。现场完成了一个岗位等级，以确保 CG 和实际摄影的平衡。 Chiat 以前曾与 MPC 的创造性问题解决者合作，他让工作室自由支配这个地方，指导他们尝试创造音乐的可视化。为了使运动与音乐相匹配，MPC Creative 研究了植鸟和八哥的形成以及其他运动。在最终确定之前，考虑了贾斯汀 · 弗农的几个版本，将静态照片与照明和建模参考相匹配，以创建一个三维弗农。通过制作动画来匹配他的现场表演，他们能够获得艺术家在大揭露中所需的运动和角度。 阿黛尔打开了超大的 CG 雨滴向地球倾斜的蠕虫眼视图，阿黛尔在深处滚动的节拍。随着鼓的节拍，水滴在撞击时燃起火焰，释放出炽热的余烬，融入空气中，形成歌手的轮廓。作为一个真人阿黛尔通过地狱实现，余烬上升到舞台之上，并合并成 “我们是音乐” 格莱美口号。 阿黛尔的创作过程变得复杂，因为 MPC 创意团队直到格莱美奖在 11月30日宣布他们的提名之前，才知道他们在周围是谁, 直到那之后，我才确定赛道。 一旦 Chiat 确认阿黛尔为表演者，MPC 创意猛扑过来，创建一个编辑结构来指导整个过程，这本质上是创建拍摄板，这是一种新的 CG 点方法。同时，他们与设计师合作开发现场的外观: 调色板、烟雾和余烬的外观、光线的移动。
阿黛尔
案例简介：MPC CREATIVE AND TBWACHIATDAY STORM GRAMMYS WITH BON IVER, ADELE MPC Creative created a pair of visually stunning spots for the Grammy Awards, one starring Bon Iver and another featuring singer-songwriter Adele. Directors Ryan Knowles and Dan Marsh, Executive Producer Paul Abatemarco, and MPC Head of Production Jenny Bright worked closely with TBWAChiatDay on the campaign, helping to develop the look and feel of the broader, four-spot campaign and handling the two spots' full production effort from concept to completion. This was a comprehensive effort that included everything from practical photography to 2D and 3D animation to compositing. Chiat approached MPC Creative with an opportunity to work with top artists that represented the Grammy brand, and by September the team was already hard at work on the efforts. Bon Iver opens on a bucolic winter landscape of trees surrounding a small pond as the beats of Bon Iver's "Holocene" quiver over the scene. As the vocals enter the song, elements of the snowy landscape begin to hauntingly fall into the air, their movement motivated by the song's rhythms. The camera reveals that the scene is actually a finely detailed miniature world, an imagined finite landscape floating in the atmosphere of musically driven winds carrying away the particle elements as though they were flocking birds. The elements coalesce first into the three-dimensional outline of Bon Iver's Justin Vernon, and then into the Grammy's slogan: "WE ARE MUSIC." Knowles and Marsh worked with production designer Gideon Webster to construct an intricate 40-inch set on a rotating platform using a creative combination of twigs, cotton, flour, and other train-set-like elements. MPC Creative storyboarded the spot ahead of time to determine exactly what Gideon would have to build. As Webster designed the miniature set, the studio worked on previz to determine how to shoot the miniature in the appropriate scale, which lenses to use, and the distance and timing of the shoot. Following the shoot, MPC's Mark Gethin and Derek Hanson graded the practical portion of the spot, while CG artists developed the particles in relation to the music. A post grade was done on the spot's completion to ensure the CG and practical photography were balanced. Chiat, who had worked with the creative problem solvers at MPC before, gave the studio free reign for this spot, directing them only to try and create a visualization of the music. To match motion to music, MPC Creative studied flocking birds and starling formations, among other movements. Several versions of Justin Vernon's reveal were considered before settling on the final, matching still photos for lighting and modeling reference to create a three-dimensional Vernon. By animating that to match his live performances, they were able to get the kind of movement and angle they required of the artist for the big reveal. Adele opens on a worm's-eye view of oversized CG raindrops careening toward earth to the beats of Adele's Rolling in the Deep. Timed to the beat of the drum, the droplets burst into flames upon impact, releasing fiery embers into the air that merge to form the singer's silhouette. As a live-action Adele materializes through the inferno, the embers rise high above the stage and coalesce into the "WE ARE MUSIC" Grammy slogan. The creative process in Adele was complicated by the fact that the MPC Creative team didn't know who they were building the spot around until the Grammys announced their nominations on Nov. 30, and didn't have certainty on the track until well after that. Once Chiat confirmed Adele as the performer, MPC Creative pounced, creating an editorial structure to guide the entire process, which was essentially creating shooting boards, a novel approach to a CG spot. Simultaneously, they worked with designers to develop the spot's look: the color palette, the look of the smoke and embers, the movement of light.
Adele
案例简介：MPC 创意和 TBWACHIATDAY 风暴格莱美与 BON IVER，阿黛尔 MPC 创意为格莱美奖创造了一对视觉上令人惊叹的景点，一个由 Bon Iver 主演，另一个由歌手兼歌曲作者阿黛尔主演。导演瑞安 · 诺尔斯和丹 · 马什，执行制片人保罗 · Abatemarco，以及 MPC 制作负责人珍妮 · 布莱特在活动中与 TBWAChiatDay 密切合作，帮助开发更广泛的外观和感觉, 四个点的活动，处理两个点从概念到完成的全部生产工作。这是一个全面的努力，包括从实用摄影到 2D 和 3D 动画到合成的一切。Chiat 与 MPC 创意公司接触，有机会与代表格莱美品牌的顶级艺术家合作，到 9月，该团队已经在努力工作。 Bon Iver 在一个小池塘周围的树木的田园冬季景观上打开，Bon Iver 的 “全新世” 节拍在现场颤抖。当人声进入歌曲时，雪景的元素开始萦绕在空中，他们的运动是由歌曲的节奏驱动的。相机显示，这个场景实际上是一个精细细致的微缩世界，一个想象中的有限景观漂浮在音乐驱动的风带走了粒子元素，就像它们是成群结队的鸟。这些元素首先融合在邦因弗的贾斯汀 · 弗农的三维轮廓中，然后融合在格莱美的口号中: “我们是音乐”。" 诺尔斯和马什与制作设计师吉迪恩 · 韦伯斯特合作，利用树枝、棉花、面粉的创造性组合，在旋转平台上制作了一套复杂的 40 英寸套装, 和其他类似火车的元素。MPC 创意故事提前登上了现场，以确定吉迪恩需要建造什么。 当韦伯斯特设计微型布景时，工作室在 previz 上工作，以确定如何以适当的比例拍摄微型，使用哪些镜头，以及拍摄的距离和时间。拍摄结束后，MPC 的马克 · 吉辛和德里克 · 汉森对现场的实际部分进行了评分，而 CG 艺术家则开发了与音乐相关的粒子。现场完成了一个岗位等级，以确保 CG 和实际摄影的平衡。 Chiat 以前曾与 MPC 的创造性问题解决者合作，他让工作室自由支配这个地方，指导他们尝试创造音乐的可视化。为了使运动与音乐相匹配，MPC Creative 研究了植鸟和八哥的形成以及其他运动。在最终确定之前，考虑了贾斯汀 · 弗农的几个版本，将静态照片与照明和建模参考相匹配，以创建一个三维弗农。通过制作动画来匹配他的现场表演，他们能够获得艺术家在大揭露中所需的运动和角度。 阿黛尔打开了超大的 CG 雨滴向地球倾斜的蠕虫眼视图，阿黛尔在深处滚动的节拍。随着鼓的节拍，水滴在撞击时燃起火焰，释放出炽热的余烬，融入空气中，形成歌手的轮廓。作为一个真人阿黛尔通过地狱实现，余烬上升到舞台之上，并合并成 “我们是音乐” 格莱美口号。 阿黛尔的创作过程变得复杂，因为 MPC 创意团队直到格莱美奖在 11月30日宣布他们的提名之前，才知道他们在周围是谁, 直到那之后，我才确定赛道。 一旦 Chiat 确认阿黛尔为表演者，MPC 创意猛扑过来，创建一个编辑结构来指导整个过程，这本质上是创建拍摄板，这是一种新的 CG 点方法。同时，他们与设计师合作开发现场的外观: 调色板、烟雾和余烬的外观、光线的移动。
Adele
案例简介：MPC CREATIVE AND TBWACHIATDAY STORM GRAMMYS WITH BON IVER, ADELE MPC Creative created a pair of visually stunning spots for the Grammy Awards, one starring Bon Iver and another featuring singer-songwriter Adele. Directors Ryan Knowles and Dan Marsh, Executive Producer Paul Abatemarco, and MPC Head of Production Jenny Bright worked closely with TBWAChiatDay on the campaign, helping to develop the look and feel of the broader, four-spot campaign and handling the two spots' full production effort from concept to completion. This was a comprehensive effort that included everything from practical photography to 2D and 3D animation to compositing. Chiat approached MPC Creative with an opportunity to work with top artists that represented the Grammy brand, and by September the team was already hard at work on the efforts. Bon Iver opens on a bucolic winter landscape of trees surrounding a small pond as the beats of Bon Iver's "Holocene" quiver over the scene. As the vocals enter the song, elements of the snowy landscape begin to hauntingly fall into the air, their movement motivated by the song's rhythms. The camera reveals that the scene is actually a finely detailed miniature world, an imagined finite landscape floating in the atmosphere of musically driven winds carrying away the particle elements as though they were flocking birds. The elements coalesce first into the three-dimensional outline of Bon Iver's Justin Vernon, and then into the Grammy's slogan: "WE ARE MUSIC." Knowles and Marsh worked with production designer Gideon Webster to construct an intricate 40-inch set on a rotating platform using a creative combination of twigs, cotton, flour, and other train-set-like elements. MPC Creative storyboarded the spot ahead of time to determine exactly what Gideon would have to build. As Webster designed the miniature set, the studio worked on previz to determine how to shoot the miniature in the appropriate scale, which lenses to use, and the distance and timing of the shoot. Following the shoot, MPC's Mark Gethin and Derek Hanson graded the practical portion of the spot, while CG artists developed the particles in relation to the music. A post grade was done on the spot's completion to ensure the CG and practical photography were balanced. Chiat, who had worked with the creative problem solvers at MPC before, gave the studio free reign for this spot, directing them only to try and create a visualization of the music. To match motion to music, MPC Creative studied flocking birds and starling formations, among other movements. Several versions of Justin Vernon's reveal were considered before settling on the final, matching still photos for lighting and modeling reference to create a three-dimensional Vernon. By animating that to match his live performances, they were able to get the kind of movement and angle they required of the artist for the big reveal. Adele opens on a worm's-eye view of oversized CG raindrops careening toward earth to the beats of Adele's Rolling in the Deep. Timed to the beat of the drum, the droplets burst into flames upon impact, releasing fiery embers into the air that merge to form the singer's silhouette. As a live-action Adele materializes through the inferno, the embers rise high above the stage and coalesce into the "WE ARE MUSIC" Grammy slogan. The creative process in Adele was complicated by the fact that the MPC Creative team didn't know who they were building the spot around until the Grammys announced their nominations on Nov. 30, and didn't have certainty on the track until well after that. Once Chiat confirmed Adele as the performer, MPC Creative pounced, creating an editorial structure to guide the entire process, which was essentially creating shooting boards, a novel approach to a CG spot. Simultaneously, they worked with designers to develop the spot's look: the color palette, the look of the smoke and embers, the movement of light.
阿黛尔
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Adele
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