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no compromises

no compromises

CARTIER "L'ODYSSEE DE CARTIER"

1y ago
SOURCE  

Description

http://Filterfoundry.com is about giving artists the credit they deserve. Subscribe to our channel for daily inspirational content from top creatives around the world. To get exposure on both our social platform and YouTube channel simply sign-up on Filterfoundry.com. Special thanks to our content partner http://Stashmedia.tv MARCEL PUBLICIS / WAM BRUNO AVEILLAN QUAD Animation/VFX: DIGITAL DISTRICT www.digital-district.fr Bruno Aveillan, director at QUAD in Paris: "Cartier wanted an epic, spectacular, universal film, a sort of dreamlike voyage that could convey the legendary history and know-how of the brand while emphasizing its current dynamic world presence. "I immediately went for a cinematographic approach, one that would firstly allow me to tell people a beautiful story, full of life and emotion, without overwhelming them with an excessively blunt advertising message. From this perspective, the project is globally consistent with my vision of what advertising of the future will be: a message that focuses more on the brand's true substance and deeper philosophy, one that is respectful of viewers and can establish a strong and lasting bond with the audience. "The original project was already incredibly ambitious, but as people always ask me to, I added my vision and imagination to develop each of the atmospheres visited during this voyage as far as was possible. From a narrative standpoint, I tried to smooth the storyline by creating transitions -- that were often surreal -- between the different worlds. "With the Digital District team, we made a very detailed animatic before the shoot. But since we made the radical decision to shoot with a real panther, several things had to be reconsidered. For instance, in the animatic I had envisioned the panther running most of the time. However, unlike cheetahs, panthers aren't crazy about running. I had to re-adapt all the sequences to fit the attitudes and behavior of a real live panther. Still, the animatic allowed us to estimate the length of each sequence fairly precisely, along with several 'reference' frames, so it gave us a good start. "To preserve a sense of emotion, I wanted to shoot as much as we could live. I wanted to avoid making a film that felt like a video game trailer, with textures and improbable camera movements...so except for the Saint Petersburg sequence, all the landscapes are real. We shot in Prague, Italy, Spain, Belgium and obviously France. We shot for almost three weeks. "We still did make a 3D panther, but in the end we used it very little, just in two or three transition shots. All the other animals seen in the film are also real. Even the Love bracelets were large-scale aluminum models that were transported to the top of the Cervin glacier in the Alps. I really wanted all the interactions to be as realistic as possible. However, the dragon, the Eternity ring and some other pieces of jewelry are in 3D. "There was also some incredible matte painting work to enhance certain sets. The Digital District team did some stunning post-production work in five months, making no compromises! There are very few companies on their level in the world that work with such talent and finesse. "I shot the panther in the actual environments. When you see the panther running on the rocks in the desert, in the middle of Place Vendôme in Paris, in the snow or on ice, the panther is actually doing it. In fact, it's the first time in the world that a panther ever saw snow. It loved it! We couldn't get it to go back into its cage at the end of the day! The same holds true when it leaps onto the front of the plane. But we had to strengthen the fabric to do it. "For the framing opportunities and the very subtle interactions with the wind, I wanted to make a perfect replica of Santos Dumont's airplane, the 14bis, based on the original drawings. It was done with painstaking attention to detail, to the point that airplane experts told us the plane could have actua...