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Best Commercial Breakdown (Large Studio)
Title: Behind the Scenes: Lipton ‘The Revolution in Tea’Studio: The Mill
Our first winner was a video we posted on the very first day of 2016. Designed to illustrate Lipton’s T.O
tea making machine, ‘The Revolution in Tea
‘ uses Cirque du Soleil performers to personify the tea leaves.
To show the tea infusing, The Mill bled the boundaries between the performers and the water, surrounding them in shimmering clouds of colour. The result was both artistically and technically breathtaking.
Tech notes: The Mill’s team of 35 modelled each of the eight actors in CG to recreate the underwater performances accurately, creating 62 individual fluid sims, the largest of which contained 1.5 billion particles.
Best Commercial Breakdown (Small Studio)
Mercedes-Benz’s ‘Loch Ness
‘ spot for its E-Class saloon couldn’t get more Scottish if it tried: the car, sitting by a loch, in the rain, with a bagpipe score for anyone still confused about where you’re meant to be.
It’s only when you watch the making-of that you realise that everything is digital: the car, the loch, the environment; even the passengers themselves – all painstakingly recreated in CG by Berlin’s Spellwork.
Tech notes: The spot uses a range of tools, including 3ds Max, Maya and V-Ray. The environments were sculpted in ZBrush and textured in Mari, with Itoo Software’s Forest Pack plugin handling the instancing.
Best Commercial Breakdown (Individual Artist)
Sometimes, a making-of video can be more compelling than the actual project. Italian 3D generalist Giulio Tonini’s finished shot isn’t terribly complex: a photorealistic strawberry, melting into a blob of candied goop.
But the making-of is gorgeous, treating the breakdown like a commercial in its own right, with timelapse and split-screen effects synched to a jaunty score. The end title is the cherry – or is that strawberry? – on top.
Tech notes: Tonini sculpted the strawberry in ZBrush, following the Fibonacci spiral for the ‘seeds’ on the outside. Fluid simulation was done in RealFlow, and the shot rendered using Maya and Arnold.
Best Broadcast Series Breakdown
Despite stiff competition from new series like Stranger Things and The Expanse, this year’s most popular broadcast VFX breakdowns came from an old favourite: Game of Thrones, now in its sixth season.
The high point was the multi-Emmy-Award-winning episode 9, the epic ‘Battle of the Bastards’ – described by GQ as a true ‘holy fuck’ moment
– as the armies commanded by Jon Snow and Ramsay Bolton clash.
Best Movie Breakdown
Title: RVX Everest VFX BreakdownStudio: RVX
Our movie VFX breakdown of 2016 was a surprise. In a year that produced Warcraft, The Jungle Book and a slew of Marvel and DC movies, our most-watched making-of came from a much less other-worldly drama.
Was it the compelling subject matter
? The calm, unhurried quality of this five-minute breakdown? Or just the sheer beauty of RVX’s invisible effects? Either way, Everest was our breakdown of the year.
Tech notes: RVX’s photogrammetric reconstruction of Everest was based on hundreds of archive images, with LIDAR to help reconstruct individual locations. Most animation was done in Maya; sims in Houdini.
Best Game Cinematic Breakdown
Blizzard Entertainment senior cinematic artist David Luong’s timelapse of a 3D digimatte sequence fromStarcraft II: Legacy of the Void
isn’t strictly a breakdown, but it is extraordinarily beautiful.
The animation compresses a three-day period during the reconstruction of the Aiur home world into just 18 seconds, with buildings and craft popping into existence. Light trails show the motion of night-time probes.
Tech notes: Clouds, planets, fog and background mountains were created in Vue, with a matte painting for the night sky. The foreground was lit and rendered in 3ds Max and V-Ray, and comped in Nuke.
Best Music Promo Breakdown
Title: Behind the Scenes: The Chemical Brothers ‘Wide Open’Studio: The Mill
The Mill’s breakdown is no less compelling, showing the reconstruction of both Mizuno and the environment in 3D – and the creation of the 7,000 clean background plates required for the long, continuous shot.
Tech notes: Mizuno’s body was recreated via photogrammetry. Clothing was created in Marvelous Designer. The environment was LIDAR scanned. Background plates were painted manually, aided by a bespoke tool.
Best Motion Graphics Breakdown
Title: Nike LunarEpic Flyknit Launch | ProcessStudio: Tendril
Nike commissions some of the best motion design studios (ManvsMachine
) for its ads, so the real question was not whether one of them would be our most watched breakdown of 2016, but which.
In the end, Tendril’s brilliant making-of for its LunarEpic brand teaser took top spot, the surreal forms of the alien landscape echoing those of the space-age running shoe. Look out for a lovely in-joke at 00:52, too.
Tech notes: The alien planet was created in 3D using World Machine and the GeoGlyph add-on
, based on photo references of Arizona’s Pariah Canyon. Other CG elements and rendering were handled in Cinema 4D.
Best Personal Project Breakdown
Title: Lego River – Thinking Particles Fluid R&DArtist: Yigit Acik
FX TD Yigit Acik has worked at some of the world’s best commercials houses, including Psyop and Trizz, but it was this personal project inspired by the The Lego Movie that really caught our viewers’ attention.
The 30-second breakdown shows how Acik translated the stop-motion look of the film into a fluid simulation, with the waters of a rushing river replaced by a cascade of miniature Lego bricks.
Tech notes: The base simulation was done in 3ds Max and thinkingParticles, then used to generate the ‘water’, with colour data derived from the Velocity and Position data channels. The shot rendered in V-Ray.
Best Student Project Breakdown
Former Filmakademie Baden-Württemberg student Martin Lapp is no stranger to awards, having won the VFX & Animation category at The Rookies
earlier this year before going on to land a job at Trixter.
This breakdown of BreakingPoint
, his amazing diploma short, deconstructs the digital environment and slow-motion sims through which the actress sprints while the street explodes around her.
Tech notes: The film itself took 1.5 years to create, including half a year of animatics and previs work, followed by eight months of visual effects, mainly created in Maya and Houdini.