Case Study: PXG Hot Rod
Throughout the pre-production process, it was important to come up with ideas that would have an impact in broadcast and social media to help promote the PXG Drivers as top-notch drivers with unmatched performance. With that purpose in mind, the agency came up with a great concept that unified top golf players such as Billy Horschel, Pat Perez and Lydia Ko swinging the PXG drivers while standing on a dragstrip starting line about to race one of my favorite American muscle cars, the Dodge Charger SRT.
Once the concept was defined and approved, the next steps were to write the scripts, scout for locations and design storyboards that would help the client and crew visualize the different shots needed to make the spots.
Production was completed in two days. The first day we shot all the selected players on green screen; we used the RED Dragon camera as well as the PHANTOM camera for all slow-motion close-ups.
The following day we shot the car at the dragstrip as well as the different plates we needed for compositing. This time we decided to shoot on a blue screen and, since I was going to do the CG and compositing, it was important I supervise the shoot during both days to make sure it all went accordingly.
Most of the footage was shot at 8k resolution, so our editor created lower resolution proxies that allowed us to work faster and more efficient. Next, the editing phase started by selecting and editing all the pieces together. Meanwhile, my team was creating all the assets such as the 3d road, walls, post lights, bushes, and matte paintings. Once the edited spots were ready, the final edit was sent to me to composite and add the VFX.
Since color grading was a significant step of the pipeline, all graphics developed needed to have high color depth. During compositing, we rendered using the RAW footage instead of the proxies. In order to do so, we used OpenColorIO to composite all the CG and VFX using ACEScg color space and then convert back to RAW for final output.
One of the last steps in the pipeline was to send the spot to our audio engineer to add sound effects and adjust music levels.
This was definitely an awesome project to contribute to, and I’m proud to say it was developed by our team at SNEAKY BIG.
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