http://www.youtube.com/watch?v=2igUkmYe46c
Fuel has just completed Leggo's "Pasta Loves Leggo's" commercial for BWM Melbourne/Revolver.
The spot was 90% CGI and of that, Maxwell Render was used for almost everything.
Because of the scope of the commercial, which is a sequel to a 2008/2009 job we did also in Maxwell, we were able to make use of *every* Maxwell Render feature available. Extensive use of MXS references, instancing and Multilight were critical in enabling us to grind through the many shots in high definition and on a short time budget.
I employed MXS References for the large, static objects which we could develop in a fast look-dev environment and bake out as versioned assets; sometimes altering the asset where necessary for a specific shot.
Instances were used for all the vegetables and pasta which were developed in a similar look-dev envionment for critical light/substance testing. Most of the time material references were used to simplify the building of shots and consolidate the look-dev across the shots.
Multilight EXRs meant we could light a shot with more than enough coverage and compositing could isolate, with mat/obj IDs, certain objects and light them more dramatically - eg the vegetables were mostly lit from a single kinoflow light rather than the HDRI or environment for drama. We usually only rendered background from foreground and possibly an extra matte pass for simplifing the selections for colour grading.
Apart from the three main features of Maxwell Render, I was able to utilise a wide range of features some unique to Maxwell: Particle RenderKit to do all the splashes simmed in Realflow, Rendertime displacement for the drops on the vegetables (love the caustics), Hair for the fuzz on the Tomato leaves, Subsurface Scattering for almost everything!, Particle Instancing for the spice in the Sauce/SauceDisc, Accurate BSDFs for the Brass Horn, Motionblur, extensive Depth of Field...and most importantly the workflow for Maxwell was an incredible pleasure. We could render everything to Sampling Level 15 (1080p renders) and begin comping, if approved we resumed the renders up to final quality. This workflow left us time to concentrate on the creative challenges rather than the engineering of the renderer.
Thanks again Maxwell !! (and the very prompt and always appreciated support of Juan, Mihai et al)
Some of my favourite frames
FrameA.jpg
FrameB.jpg
FrameC.jpg
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