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ISSUE 13 / NOV-DEC 2012 £3.50 / €4.50

Creative Advertising











EDITOR Richard Bray


RESEARCHER Ashlee Lenton


ADVERSITING For more details on pricing, contact us on

CONTRIBUTE Contactu us if you would like to the next issue

SPECIAL THANKS Sam Bathe, 125 Creative, Jan Rambousek Maison d’artiste by klaasnienhuis (top). Bob by Zafia (bottom).




contents NOVEMBER - DECEMBER 2012

On the front


MDI - Digital


Taylor James


22 36 46



The Operators


Agent Bob


75 63





ZBrush has quickly become an integral part of the 3D modeling industry. ZBrush Character Sculpting: Volume 1 examines the tools on offer in this ground-breaking software, as well as presenting complete projects and discussing how ZSpheres make a great starting point for modeling. This book offers a great gallery of work from today’s best artists and an insightful look into the creature and character design process. It provides a helpful breakdown written by various artists, explaining the steps they took to create truly unique and eye-catching designs. Aaron Sims ISBN – 978-0-9551530-8-2 | Softback / Slipcase – 220mm x 297mm | 240 full color premium paper pages | £29.99 / $49.99

available now from: Get 20% off this book when you enter the promo code: ceiga20


This offer is subject to terms and conditions and can be withdrawn at anytime.


Creative without strategy is called ‘art.’ Creative with strategy is called ‘advertising.’ - Jef I. Richards


verywhere you go you are bound to see an advert or two dotted around the place; on the television, on pages of your favourite magazine or even in some of the games you play. They are almost everywhere, however most of the adverts you come across are either ignored or forgotten within moments of seeing them.

There are those that stick with you; those that you can’t get out of your head, those that are worth taking a pictire of, searching the internet for and plastering all over your numerous social network profiles. What makes these so special? The way their message was conveyed? Their clever use of images and colours? All this and much more is down to the creativity of the advert. This issue contains work from six incredibly talented creative production studios as well as a few intervews and for the first time, a tutorial. We are also doing something a little different in this issue and replacing the write up for the cover image with some very insightful images of how it was made. I hope this issue makes you aware of the effort and attention to detail that goes into creating the print adverts you see here and all the others you see in the future. Enjoy.

R.Bray Richard Bray Editor


On The Front

Project - Silver Arrows



Client - Mercedes Benz


CGI & Post - Playground


The Making




MDI Digital MDI Digital is a CGI production studio based in the UK. They have over 20 years experience producing high end, large format artwork and animation for the entertainment and advertising industries, from characters & products to typography & retouching.



Alternative Oscars Client - Esquire



CGI & Post - MDI-Digital

Fruity Drinks & Lunchtime Dreams Client - Oasis/Coca-Cola Company


Agency - Mother London


CGI & Post - MDI-Digital


Ice Butler Client - Stella Artois



Agency - Mother NYC


Additional Post - Rondell Meeks


CGI & Post - MDI-Digital

Race Days Christmas Campaign Client - Silverstone


Agency - Mosaic


CGI & Post - MDI-Digital


Golden Duck Client - O2



Agency - VCCP


CGI & Post - MDI-Digital

Vegetables Client - Ristorante Cantina Zurich


Agency - EuroRSCG


CGI & Post - MDI-Digital


Go Audio - Made Up Stories Client - Epic Records



Design - Zip Design


CGI & Post - MDI-Digital


Taylor James 22

Taylor James is a high-end Creative Production Studio, renowned for photographic realism & attention to detail. The studio delivers content for leading agencies and brands worldwide across print, interactive & broadcast media campaigns. With CGI, photography, live-action & post-production under one roof, the studios in London and NYC tailor productions to realise the full potential of campaigns.


Pegasus Client - Huawei



Agency - MWorks


CGI & Post - Taylor James

Liberty Mutual ‘Paper’ Client - Liberty Mutual


Agency - Hill Holliday


CGI & Post - Taylor James


Polar Bear Production Company - Taylor James


Water Trail Agency - GSW Worldwide


Photography - Simon Thorpe


CGI & Post - Taylor James


Simponi Client - Simponi



Agency - DDB Remedy


CGI & Post - Taylor James

Russian Standard Vodka Client - Russian Standard Vodka


CGI & Post - Taylor James


Statoil Client - Statoil



Agency - McCann, Oslo


CGI & Post - Taylor James


Photography - Andy Glass



When I was putting myself to work on “Lemon slash” I was working on commercial visualizations and because of that I didn’t have too much free time. One evening I decided to make something else to relax. The idea was to make something small, but very detailed and unusual in just one evening. A slashed fruit was a good idea.


Gathering References

First of all I had to gather some references. The main objective here is to find an image with the main shape of a lemon, the cross section and some images showing various parts of it. Always try to select a good reference to get a realistic, but “catchy” shape of the upcoming model.

4 The Stem

2 Reference Modelling

After putting on a plane my image of the main shape of a lemon, I started to draw a smooth line along the border so the shape resembles the one from the reference. There’s no need to draw along the whole border – simply just draw half of it and use lathe modification to turn it around obtaining that lemon shape. Now it’s very important to focus on the shape. For my taste, the obtained shape was very stumpy, so I needed to scale it a little.

3 Deformation

After obtaining an interesting shape, I needed to get rid of the regularity so the look is more natural. For this I used Paint deformation on my polygon shape making both ends of the lemon, and some wavy irregularities along the surface. Have in mind that at one end we need to make the stem.

5 Shading I wanted to make the material of a lemon through shading without the need to use textures. For this I tried to focus on every part of the shading. For the diffuse color I used a falloff material of Distance Blend type in which I found fresh lemon colors. Tip: If you have a problem finding a color, you can always import an image to 3ds max and take it through “sample Screen Color”.

After modelling the bulge of the lemon, I began with a sphere to make the stem. I also used the paint deformation tool and some noise modification to obtain a stem-like object which I would paste to the end of the lemon.


As for the reflections I used only fresnel reflections like in the picture. Now the main “attraction” of the lemon is the lemon peel. For this I used Bump and Displacement. Bump with noise material for noisy/irregular surface, and Displacement with cellular material for the peel.

6 Shading pt.2

8 Lights, Camera, Action

10 Slash it

For this I converted to poly once again the whole lemon, and selected half of it (face selection). After detaching it, I placed both parts (with the stem!) in a “commercial pose” to show the interior of the lemon. I needed to close the hole after slashing it, so I just selected the border – extruded by 0 units and scaled it down then cap it. Selected the border once again and chamfered it with a few segments (4-7) for better results.

Now that I had the lemon peel ready and steady, to keep it natural I needed to make some parts turned green – mainly at the bottom where the stem is. To obtain that kind of effect I used VrayBlendMtl where the base was my material from above and a coat material (same as lemon peel, but without bump or displace, and with a green falloff in the diffuse) with VrayDirt in the blend amount. This time doubled for a better effect of the green part. Having in mind, that the stem interacts a little with the lemon – there will be more green color there than in the rest of the lemon. Same goes for the other end, where the wire is focused. For a better effect of the lemon peel – I used again the base material as coat material with a darker diffuse and the displacement cellular map as blend amount. This gives us a darker porous surface. VERY IMPORTANT – the diffuse color should be just a bit darker, not too different of the one from base material.

The scene setup is pretty simple. I made a sheet-like object (similar to the ones used in real studios). with a spline which I extruded after. Applied a very basic material with just a little gradient on the diffuse channel. The light setup need to express the lemon peel and make it catchy. For that I used 2 lights from behind the lemon (one above, one below) and one from behind the camera to light up a little the front. This way I could show the consistency and reflectivity of the lemon peel. The camera is really basic. I just increased the focal length to 70mm and zoomed the image to flat a bit the lemon. F-number changed to 1.8 and unchecked Vignetting. Voila!


Shading pt.3

The Shading is almost done. Just need the stem material. For this one I used a Gradient map with green/brown colors in the diffuse and reflection channel. Reflection glossiness changed to 0.7. Seems it worked fine for me. Also used a little bump with a noise material to get more irregularities on the stem.

9 Render Settings

I don’t use gamma correction, so the Gamma/ LUT setup is unchecked (Rendering -> Gamma/ LUT setup…). For the rest… I will let the images below speak for themselves.

11 Slash it pt.2 Now I just had a dilemma – how would I create the inner part of the lemon. I could model it, or make it through a texture. Keeping the basic idea of making it fast – I went with the texture. For this I had to find a really good photo of a lemon interior and make it through Photoshop to get it out and make other masks for a good render result (keeping in mind all the time, that it will be the main part of the visualization!). After the process of making the texture, I selected the faces of the slashed part of the lemon and applied the new material (watch out for the borders! Apply it that way so the displacement map doesn’t go beyond the edges too much).


For higher resltuion images and a more detailed tutorial visit,


12 Last Details

To make the slash scene look more realistic – I made some water drops in the air by using the Super Spray particle system as shown and placed it so there were drops near the camera and far beyond the lemon. I then doubled the Super Spray object and made a bit more drops in the middle of two halves so it gains a bit more expression. It will look very cool with blurred and focused drops in the air!

13 Last Details pt.2

14 Render and Post Process

I also did some drops on the lemon interior, so it looks juicier. For that I made some spheres which I deformed using Soft Selection on the vertices. The water drops have a simple material of water witch a bit more reflection to gain some more detail.

16 Render and Post Process pt.2 For the final retouch I used all the vray passes to adjust color and light correction. I also added some gradient maps and individual curves, exposure and color balance correction.

17 Final Image I hope you enjoyed the making of this simple but detailed scene as I did making it. The idea was to make it fast and show how an evening is long enough to make something unusual. If you have any doubts or comments you would like to share – feel free to contact me. Be creative! Facebook page: Portfolio: Tel.: +48 695 042 797 Mail:


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Agent Bob Agent BOB is an illustration studio and CGi artist agency based in London, specialising in CG imaging, animation and VFX for the global entertainment and advertising industries. For 20 years the Agent BOB team have been producing high quality commercial CG illustrations, motion graphics and character design and regularly work with some of the largest advertising agencies and brands in the world.


Flyknit Client - Nike



CGI & Post - Agent Bob

Paper Panther Client - Intel


CGI & Post - Agent Bob


Absolute Vodka CGI & Post - Agent Bob


02 - Bubbles CGI & Post - Agent Bob


Living TV CGI & Post - Agent Bob


Sourpatch Character CGI & Post - Agent Bob


Miller CGI & Post - Agent Bob


3D Cars CGI & Post - Agent Bob


Digital District on Peugeot Onyx ‘Alchemy’

Once Peugeot decided tounveil the prototype for their stylish new concept car, they chose none other than French studio to create a phenomenal promotional film for it. We talk to Vincent Guttmann (Lead 2D) and Benoit Revilliod (Lead 3D) to find out how the project was taken on. 1) What was your role in the creation of the Peugeot Onyx piece and how did you develop an interest for what you do? Vincent Guttmann: Our role in this creation is to listen to the director and give him the ability to do what he wants. We have to create the best team for his purpose. Then we have to act like a consultant. As supervisors we bring ideas and technology to make this movie possible. This kind of creation is why we are so passionate about our work because it is a post production movie. Everything is decided in post production by the edit and then by the effect we can do. The ability to create and work directly with the director is what we are deeply interested in. Benoit Revilliod: At Digital District, we always try to work as much as possible on ambitious projects with artistic and technical challenges. So, obviously, when we received this commercial’s storyboard we couldn’t be anything else but thrilled to start this


big adventure. Having the possibility to do macro materials in CGI is an exciting challenge for any graphic artist who loves the rendering. 2) How many artists were involved in it’s overall creation and how did it feel working with them? VG: There were about 20 graphic artists working on the feature. We try as much as we can to work with the same artists on every features. So I would say that it was, as usual, pretty cool. But this time we had a real powerful 3D FX team. This was a big part of the movie. Then we had the usually composting team who like to melt 3D fx with stock shots. BR: There were about twenty artists involved in this project, a dozen designers, many specialists in 3D vfx techniques like fluids, clothes, rendering and composting. But one of the most important things to keep in mind when you work on those kind of movies is

“ The main goal for us was people not be able to tell what was real and what wasn’t. ”

to have a good team spirit. In order to achieve complex and tricky vfx you have to get along with the people you work with. I think this way of thinking is one of the strength of our studio. 3) There seems to be a lot of realistic particle effect, fluid simulations and car shots in the advert. Was all of it computer generated?

example, the copper macro is completely shot, but the lava and the smokes are in full 3d. In order to achieve all the effects, we used several simulation techniques: materials and fabric for the paper, we used Maya for the final shots of the movie and Nayad for the lava. We also use Vray as a renderer. The composting was done on flame flare.

VG: As I said before we worked a lot on 3d particles, and then we had a few stock shots. I think this bring the accident you can find in the real life. But all the paper shots for example were done in full CG. And for the lava shots, we had stock shots for and the little explosions, but everything else was CG.

4) Lastly could you share with us what projects you are working on in the future either personally or with Digital District?

BR: In this movie the vfx are very managed because during the preparation of the film, we talked and thought a lot about what would be shot and what would be CGI. We decided at the early stage of the production which techniques will assure us to have the most perfect images at the end. The main goal for us was people not be able to tell what was real and what wasn’t. For

Just in case you haven’t yet seen Peugeot Onyx Alchemy I’ve placed it above this paragraph. Many thanks to Vincent Guttmann and Benoit Revilliod from Digital District for taking time out of their busy schedules to answer these questions, and thanks to Celia Rocher for making sure the questions got answered.

VG: We have a lot of ambitious projects to come at Digital District but you will have to wait and see. We promise to not disappoint !


SHADOWPLAY A creative studio specialising in high-end still and moving image production. With a background in Advertising Photography and Moving Image spanning two decades we create visual stories for print, web and broadcast media. With full service production in Photography, Film, Post Production and CGI from our central studios, our team will guide you from initial idea to finished campaign.



See CGI & Post - Shadowplay


MitshibishiASX Client - Oasis Post


CGI & Post - Shadowplay


PhilipsNurelco Client - Philips



Agency - Stink Digital


CGI & Post - Shadowplay

Shell Brand Advert Art Direction - Gyro


CGI & Post - Shadowplay


Volkswagon Scirocco CGI & Post - Shadowplay


Bosch Home Professional Client - Bosch


Agency - ADV.PL


CGI & Post - Shadowplay


Bosch Sensixx Client - Bosch



Agency - ADV.PL


CGI & Post - Shadowplay

Syrena Sport CGI & Post - Shadowplay


play ground 58

Playground studio offers creative retouching, illustrations, CGI and CGI animations under the one roof. We are based in the heart of Europe in Prague. We help develop exclusive design concepts and layouts. Our team consists of experienced retouchers, CGI artists, architects, illustrators and designers which together, build a strong team for your projects. We will be more than happy to welcome you to our new office with lovely garden in the center of Prague, whether you have an exciting project or simply wish to say hello.


Tzechinno Agency - Publicis Prague



Client - Tzechinno


CGI & Post - Playground

Vodafone Agency - Red Team


Client - Vodafone


CGI & Post - Playground


KB Agency - Euro RSCG



Client - KB


CGI & Post - Playground

Porsche 911 GT3 Client - Ramp Magazine


CGI & Post - Playground


Generalli Agency - Hullabaloo



Client - Generalli


CGI & Post - Playground

Coop Agency - Jandl


Client - Coop


CGI & Post - Playground


A Rainforest in a Kitchen London studio Neon have put together quite an impressive advert for Sky. Mixing 3D ‘cardboard like’ objects with live action. We interview Teddy Powell Creative Producer to find out how it was done.

1) Could you tell me a little bit about Neon studio and how it came together? We’re a creative studio formed in London in 2010, helmed by Tom Bridges, Roland Woolner and Charlie Cassidy, (previously, Tom and Roland had co-founded UNIT Post). The guys set out to create a boutique company with a hands-on approach, so that clients are able to collaborate directly with our team of creative directors and artists. We lend a personal touch to a wide range of production services for commercials, animation, film and print. 2) How did you approach the Sky - Rainforest advert in terms of brief and storyboard? We were briefed in by Brothers & Sisters, one of Sky's agencies. Sky were keen to advertise their Rainforest Rescue scheme, and their partnership with WWF. Our brief was to bring the rainforest, (and its awesome creatures) into a family kitchen, in order to explain how Sky match their customers' donations. The line in the script read ‘The rainforest comes to life’, so we were responsible for translating this into reality: designing and implementing all the visual effects in


the spot. Of course this included the 3D cardboard environment and creatures, but also required replacing the external environment outside the kitchen – as well as the usual roto and cleanup. 3) What technologies/software did you use to produce the advert? We used Cinema 4D, 3D Studio Max, PFMatchit, and made full use of Nuke's 3D toolset. 3DS Max enabled us to get the jaguar animation looking good, while PFMatchit was essential for camera tracking. The environment and other characters were built and lit in C4D and all compositing was carried out in Nuke. We also wrote some of our own custom scripts to export Cinema 4D's geometry, cameras and lights into Nuke, which was hugely useful when it came to compositing. 4) I am really impressed by the cardboard cut-out effect of the advert. How and why did you do it? It’s part of a wider family of ‘Better Effect’ commercials that we’ve made with Brothers & Sisters. Sky were looking for a way of showing how the broadcaster enhances customers’ lives: Sky believes in better, and so these cardboard cut-outs are a manifestation of the ‘Better Effect‘.

Every ad in the series has presented its own opportunities - and in this case we're really proud of the jaguar character. It's the first quadruped we've tackled, and it required a lot of design time to get a cardboard jaguar moving like the real thing. We exported from Max to Cinema 4D via FBX. The toucan was simpler, and was rigged and animated in Cinema 4D. 5) What is the future of Neon? Do you have any interesting projects lined up? It’s a really good time for us. We have a great mix of projects in the studio including a live action/CG spot, another series of Sky commercials and some photo-real CGI work for a jewellery brand. We’ve also got some cool R&D concepts on the go which we’re hoping to reveal before Christmas. We’re excited about what the future holds. Our existing relationships are more like partnerships, and we want to work with more people in this way, whether it be individuals with great vision, or clients who demand technically adventurous, high-grade artwork and filmmaking. We just want to make lovely work, with lovely people. World domination would be an unexpected bonus.


THE OPERATORS The Operators create exceptional content across print and digital media, for global advertising agencies, leading commercial photographers/directors and brands. The Operators are committed to producing innovative work that is creatively led – immortalising ideas into campaigns. Our services extend to delivering full media solutions, including, CGI, IMAGEmotion™, Post Production and Motion, plus an expertise that covers, creative direction, technical proficiency and production management.



Sharks CGI & Post - The Operators


Hugo Boss Agency - Grey London


Client - P & G


CGI & Post - The Operators


Castrol CamShaft Agency - 20:20 Agency



Client - Castrol


CGI & Post - The Operators

Asteroid Photograper - Rob Payne


CGI & Post - The Operators


White Point Agency - Publicis QMP



Client - South African Wines


CGI & Post - The Operators

Snot Swing Agency - McCann Erickson Polska


Client - Mola


CGI & Post - The Operators


Audi Seasons – Raining CGI & Post - The Operators


Final Print – Woman Agency - Saatchi & Saatchi Health


Client - AstraZeneca


CGI & Post - The Operators




(UK only)


BreakThru Films


Absolute Post

Burrows Nvisage

Full Moon Studios

Absolutely Cuckoo

Busty Kelp






Climax Group

Glowfrog Studios

Animatic Media


Golden Square

Annix Studios

Colonel Blimp

Hot Knife Digital Media


Criterion Games


Atticus Digital

Darkhorse VFX

Ignition Entertainment

Atticus Finch

Darkside Animation

I love Dust

Axis Animation

Dinamo Productions

Image Metrics

Barefoot VFX

Distant Future Animation Studios

Infinite Realitites

Base Black

Double G Studios

Ink Digital

BE Animation

Double Negative


Blink Productions

Drive CGI

Jellyfish Pictures

Blitz Game Studios

Eggbox Studios

Jump Design

Blue Bolt


Kazoo Creative

Blue Zoo


Kettle Studios

Brandt Animation

Fluid Pictures

Keframe Studios

Bravo Games

Foundation CGI

Kuro Dragon

Lab 10 Studios

Not to Scale

Smoke & Mirrors

Lionhead Studios

NSC Creative

Speed Shape

LipSync Post


Studio AKA


OG International

Sumo Digital


Passion Pictures


Loose Moose

Peanut FX

Taylor James



Ten 24

Man Vs Machine

Pitbull Studio

Territory Studio

Masquerade Digital

Plowman Craven

The Creative Assembly


Prime Focus

The Foundry

MDI Digital

Quay Studios

The Mill

Method Studios


The Senate


Realtime UK

The Works

Motion Imaging



Monumental Games

Relentless Software

TT Games


Rockstar North

We Are Seventeen

Munky Neon

Realtime Technology Rumble Studios




Nexus Productions

Saddington Baynes

Ninja Theory




Ceiga Issue 13  

Everywhere you go you are bound to see an advert or two dotted around the place; on the television, on pages of your favourite magazine or e...

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