How to show off a supercar without actually showing it
MPC Creative worked with Marshmallow Laser Feast on a brief by McLaren to create a film that would create excitement about its new P12 supercar but without actually showing the car. The response was to capture wind tunnel air-flows over and around the car and then visualise them using light and a mind-bogglingly complex set-up...
The beginning of the film (above) alludes to how the light painting was made, with a TV on a rig moving backwards as a specially programmed animation plays while long exposure photographs are made. Repeat thousands of time and stitch the resulting long exposure shots together and speed them up and you get the end result.
Here's the making-of film which McLaren has just posted online:
McLaren digital lead Evan Jones
Concept, design, art direction and technical direction MarshmallowLaserFeast in collaboration with James Medcraft
Software design and development Raffael Ziegler
Sound design Tom Halstead
VFX producer Michael Stanish, MPC
VFX upervisor Duncan McWilliams, MPC
3D Thomas Rowell, MPC
Producer Holly Restieaux
Executive producer Peter Bowker
Client liaison Ben Risk
Motion control Ian Menzies and Nigel Permane at Mark Roberts Motion Control
Gaffer James Smith-Pryor
Rigger Jon Last
Runners Spike Laurie, Rudy Vermorel, Charlie Barclay, Runyararo Mapfumo
Behind-the-scenes photography Sandra Ciampone, Steve Glashier
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CR In print
In our November issue we look at ad agency Wieden + Kennedy in a major feature as it celebrates its 30th anniversary; examine the practice of and a new monograph on M/M (Paris); investigate GOV.UK, the first major project from the Government Digital Service; explore why Kraftwerk appeals so much to designers; and ponder the future of Instagram. Rick Poynor reviews the Phaidon Archive of Graphic Design; Jeremy Leslie takes in a new exhibition at the Whitechapel Gallery dedicated to experimental magazine, Aspen; Mark Sinclair explores Birmingham's Ikon Gallery show of work by the late graphic designer, Tony Arefin; while Daniel Benneworth-Gray writes about going freelance; and Michael Evamy looks at new telecommunications brand EE's identity. Plus, subscribers also receive Monograph in which Tim Sumner of tohave-and-tohold.co.uk dips into Preston Polytechnic's ephemera archive to pick out a selection of printed paper retail bags from the 70s and 80s.
The issue also doubles up as the Photography Annual 2012 – our showcase of the best images in commercial photography produced over the last year. The work selected is as strong as ever, with photographs by the likes of Tim Flach (whose image of a hairless chimp adorns the front cover of the issue, above); Nadav Kander (whose shot of actor Mark Rylance is our Photography Annual cover); Martin Usborne; Peter Lippmann; Giles Revell and more.
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surprisingly similar to a job i worked on at The One Centre with Universal Everything for Audi TT
immediately scathing, after seeing the AUDI version, and recognising another studion who worked out this tech-feat with an iPad quite the while ago I've changed my mind.
Joining dots is what we do, those are both pretty good dots to join ( + IF )
Agree with Alex.
The 'digital slipstream' animation is a beautiful way to show the dynamism of the car (kudos and credit to UE) and the TV screen animation technique is a cool way to give a 'real' feel to the film.
Dots well joined!
I'm sold, where can i buy this car?
now that's a car teaser
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