PROCESS

We knew we wanted to capture as much dynamic movement around the digital car as possible. We faced a choice: either tackle extensive post-production work involving tracking and cleanup, or tap into SandStorm Studios and leverage their techno-dolly.

Since it was our first experience with the techno-dolly, we aimed to be thoroughly prepared during our shoot. We swiftly developed concept art and delved into planning camera movements feasible within each shot duration.

We kicked off with a classic storyboard animatic and then upgraded it by substituting storyboard panels with camera movements around the car in CG. This approach ensured that upon our arrival at SandStorm, our team was primed and ready to dive straight in.

VFX

Engaging with the finalised concept design in the initial stages enabled us to approach lighting with certainty, ensuring the perfect placement of the car and optimal lighting for our actress, Sonia, within the scene.

A straightforward lighting setup was arranged precisely where the car was to be positioned, allowing us to gauge its dimensions and height. This setup granted Sonia complete flexibility and a tangible element to interact with.

By harnessing the techno-dolly's camera animation export, seamlessly integrating it into our 3D digital realm, we significantly minimized the typical rotoscoping and tracking workload.