Panasonic

We teamed up with Great Guns, Brave, Hollywood director Roar Uthaug and cinematographer Ben Davis to create this action-packed 90-second film!

Project Category

Creative

Client

Great Guns

Director

Roar Uthaug

Outpost VFX Producer

Josh Sykes

Outpost VFX Supervisor

Cale Pugh

Overview


We were thrilled to have worked on Panasonic’s new brand film, ‘Hollywood To Your Home’, with Great Guns and Brave.

Helmed by Tomb Raider Director Roar Uthaug with cinematography by Ben Davis (Director of Photography on Guardians of the Galaxy, Captain Marvel and Dumbo), the commercial features exhilarating car chases, breathtaking action sequences and spectacular explosions.

Styled like a trailer for a Hollywood action blockbuster, the 90-second spot brought some of the best creatives in the world together to show off the full capabilities of Panasonic’s newest range of TVs.

“This was a project that had a huge variety of VFX all squeezed in to a bitesize Hollywood action blockbuster, including procedurally generated foliage, full CG environments and, most challenging of all three, highly detailed FX simulations of a shattering window while our hero leaps to safety – all shot on a Phantom with a 4K delivery!” says Outpost VFX Producer Josh Sykes.

“Teaming up with Great Guns, Brave, and Tomb Raider director Roar Uthaug was a lot of fun and we're looking forward to working together again soon.”

“It was hugely ambitious commercial as well,” says Outpost VFX Supervisor, Cale Pugh. “It was car chases through the middle of Warsaw, the hero [played by Shaun Sipos] abseiling down a factory and smashing through a window, as well as explosions and gunfire.”

One of the shots, which sees the hero running past a series of explosions and bullet hits, had us completely removing the existing blast and re-creating it. As the film was shot on Phantom and Panasonic VariCam cameras at 1,000 frames a second, our team really had to pay special care and close attention to effects like these that were on show. This was most evident when the hero jumps through a glass window.

“All of those shots were about the tiny details: the splintering of the wood and the glass, for example.” Cale explains. “We had to make sure all of the Houdini simulations were absolutely perfect… It’s all about just bringing individual elements that told a story, that worked well cinematically and added depth to the shots."

Another standout component of the film was the realistic procedural foliage, overgrown all over the factory.

“The foliage effects are completely invisible!” says Cale. “The art department put a lot of foliage up and we added to it, augmenting what was already there so we had great references.

“When you watch that sequence, you can’t tell what is from the art department and what we had made in CG. When you watch it, it doesn’t even look like we added anything on there. It was all about adding to what the art department was doing, and not to detract from it.”

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