Carl has had a very memorable career creating top of the line commercial work the majority of which heavily utilize computer graphics, often times working with DD & BLR, to create very compelling imagery. After spanning out into new feature projects such as 47 Ronin, the opportunity came about for Visual Effects Supervisor James Atkinson and myself the ability to work directly with him and team.
The spots are predominantly CG with a mixture of live action photography. They proved to be some of the toughest shows I've worked on to date purely from a camera animation stand point, because not only were they a single camera move with no cuts, they required very natural fluid moves with a seamless blend of live action plates. This made them even more challenging than a piece like Gears of War Dust to Dust which is fully CG and had a ton of opportunities to hide transitions in battle photography.
After a two day motion control shoot on the Universal lot, and 5 weeks of pre/post vis later, the spots required over a month of addition camera animation polishing to make them look as smooth and seamless as possible. Proving sometimes making something look easy is the hardest to re-create.