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We dig into how V Studio delivered multiple worlds for OREO Night Twist using virtual production A recent ad for OREO Night Twist shows its protagonist moving seamlessly through a series of different environments, each at Publicis Production – utilising a hybrid approach to realise the concept.
“Our team leveraged its experience in VFX production and CGI, alongside our adoption of new AI technology, an approach which allowed us to meet the high expectations of our directors while remaining conscious of a condensed timeline,” shares Matt Gifford, Publicis Production’s VFX supervisor. “Using a combination of Maya and Cinema 4D for scene building and previs, with Nuke and After Effects for compositing and graphical effects, our team of AI- augmented artists were able to build a number of fantastical worlds for our protagonist to move through in a very short space of time.” With the environments visible in real time, the volumetric stage could be approached less like a VFX set-up
representing an experience that could be won via the campaign’s on-pack QR game (a competition that’s now ended). Developed by Saatchi & Saatchi, the idea was simple enough, but a tight schedule, fast turnaround and little room for post piled pressure onto the workflow. The V Studio at Film Soho stepped up to the challenge, identifying virtual production as the most effective way to deliver the concept, and kicking off with a detailed previs. “We used the V Studio’s to-scale virtual model of the stage, which allowed the team to plan camera moves, set layouts and prop placement, and test environments well before the shoot,” explains Steve Azancot, CGI art director. “It also gave everyone on-set a clear understanding of the final ad, from the timing and camera movement to what props and furniture were required. In some cases, elements were designed to extend beyond the intended framing or interact with the LED wall content, which helped sell transitions and create more convincing visual effects.” The shoot was designed around a single camera move, with the camera mounted on a jib rotating in an arc. This approach meant the VP content could remain relatively simple – either still images or video – while the physical props created the necessary perspective changes to sell each environment. The VP imagery had to align with the tones of the brand’s aesthetic, and was created in conjunction with the visual effects team
and more a controlled location. For cinematographer Billy Kendall, that immediacy was key. “Working in a volumetric stage is a great experience as a cinematographer. It allows us full creative control over the image, which, especially on commercials, is something we always strive for. Unlike a classic green or blue screen set-up, you’re able to see and control the world you’re working with in real time. That lets lighting blend seamlessly to create a cohesive image.”
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