Volkswagen Polo 'Dog' | Framestore

30 Mar 2015 | Author: | Comments Off on Volkswagen Polo 'Dog' | Framestore


Volkswagen Polo

#039;Dog#039;

A Mans Best Friend

a dog. Put him in the passenger seat of a

Now get him to sing a full-on version of the Davis Group’s ‘ a Man ‘. Bam- you’ve got one of the funniest animal based to be seen in recent years.

by DDB London and directed by Noam VW Polo Dog is a 30 second spot started airing recently in the UK. production was by Framestore.

We open on our a white Jack Russell- in the front of his mistresses’ car and belting out the opening lines: Well my pad is messy and there’s whiskers on my Abruptly, we cut to ‘Jack’ accompanying his as she waits in line in a bank. He distinctly subdued and is muttering the (acapella – the backing has disappeared) under his breath.

The spot continues in this switching back and forth the dogs’ contrasting demeanours- confident in the car, timorous it. At the end the tag – ‘Polo confidence’ is superimposed over a final of the car speeding along, and we cut to a final shot.

VFX Supervisor Stephane Allender the four day shoot in LA. It was a pretty process, he recalls, Not least the dog was so beautifully trained. All of the interior of him trembling and cowering – were all reactions he could do on

Not only were no animals during the making of this – they weren’t disconcerted!

The three and a half of post that followed largely concerned with the texturing, matching and fine of the 3D elements. Allender painted out the of the dog’s muzzle. This was in some shots where the dog is through the car’s reflective – made necessary open windows would been too windy for the dog.

Meanwhile, CG Lead, Diarmid started by getting good track and then object of the dog so that the 3D dog head could be aligned with the real Again, this was made by the reflections in some of the shots.

We a whole 3D dog’s head, though we knew that it probably just be the muzzle was used, says Harrison-Murray, this gave Stephane of leeway to play with compositing. It also gave us a bit to work with when the material.

The dog was built and animated using and rendered with Mental After initially hoping to use textures for the dog’s skin, the found that they had to use fur for a of the close-ups, which they using Maya’s own fur tool.

the animators was Senior Animator Newton. We had to make a dog rig that move convincingly, he says, lips were flexible to do things that a real would, but that would go that tiny bit further. Dog are potentially far more flexible human lips – can flap around in a much mobile way than ours And dogs make many that are quite human.

So things that involve a – a ‘w’ sound, say are not too difficult to sell as near-natural. and bilabials, on the other hand ‘b’ or ‘p’ or ‘m’ are not part of a dog’s ‘vocabulary’. all a question of finding the sweet between the natural and the fantastical.

points out that the ‘animation’ of the dog mumbling was not a 3D job  Allender it all with a mixture of in-camera and a little Flame magic. A touch was the Telecine, created by Colourist Steffan Perry, who The aim was to keep the spot looking and upbeat – the final shot of the dog in the car has a slight but distinct glow to it.

Dogs charm and humour, with a classic song, it an instant youtube hit – one of spots that gets around via email. That you doubt that you’re a dog belting out his favourite song is to the canine craftiness of the Framestore

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