In Broadcast - July 2012 - 64
WWW.INBROADCAST.COM | ISSUE 10 - JULY 2012
Mistika Powers Nike’s 2D Interactive Advert
Identity FX embraced project challenges with conﬁdence using Mistika
SGO’s Mistika was recently used at Hollywood-based Identity FX for the stunning, effects-heavy 2D interactive web commercial campaign for Nike. The CP3 Jump Man website features basketball player Chris Paul and is available online as an interactive experience under the search string “Quick Controls Chaos”. Designed for online customers to dynamically experience a Nike product launch, the unique ad campaign was made to generate a transmedia experience destined for the web, live events and broadcast. Online users are able to interactively participate in the commercial by operating a camera, ensuring that no two viewings would ever be the same. Founded in Burbank, California in 2004 as a visual effects boutique and the post-production arm of the transmedia company, Identity Studios, Identity FX embraced the complex, intricate and multifaceted project with Mistika at the helm, resulting in a highly successful outcome. Identity FX is also comprised of IDFX Budapest, a collective of five Eastern European VFX houses, and The Adventure Core Productions, which specialises in adventure sports reality programming. the daunting task of creating a one-thousand frame-length final product, comprised of the 17 individual camera positions that captured up to 12 green screen layers, per camera, in a 170 degree arc. “To put this in perspective that’s a total of 11 hours of 5K footage, captured over a two-and-a-half day shoot.” David Scott Van Woert, Owner and Producer at Identity FX, emphasised.
Most record-breaking Nike Quick Controls Chaos Project high-level projects bring with them, a series of challenges, matching the action across multiple and this was no exception. One takes and various array moving example that illustrates the across a dozen different layers, as project’s complexity, was how the well as processing an increased team had to provide a seamless volume of 5K RED EPIC material at basketball play to the end-user, 48fps across the entire timeline. which ultimately had to be built from interwoven, disparate takes. Problem Solving The footage incorporated a chain Identity FX invested in a Mistika reaction of various interdependent system last year and decided to scenes that included a man on ﬁre, implement Mistika’s advanced a mounted policeman rearing up, toolsets and speed for this project. a “Vancouver Kiss”, a fan falling “After evaluating multiple tools and from the announcer’s booth, and, a variety of potential solutions, it dramatically, a child almost being quickly became clear to us, Mistika trampled by a horse. was the only answer. We feel this “Simple logistics and safety would have been impossible without concerns were paramount, along the Mistika system,” declared Leo with the early realisation that we Vezzali, Identity FX Co-Founder and would not be able to do this in a Stereoscopic Supervisor. Ultimately, single take, across an 18-camera the team managed more than 20 array.” David explained. “There Terabytes of material within Mistika, was not enough glass available which is the equivalent of nine 2K to rig 18 cameras together using feature ﬁlms, all executed over a 14mm prime lenses and secondly, 12-week period. even if there were, and we were David said: “It was during Conan, not concerned about safety at all, in 2011, after evaluating the 3D this scenario would dictate that we market trends for more than a would have had to paint out the rig year, we realised that the future of in every shot, from every angle.” Stereo 3D lay in more of a hybrid The team also faced the approach. Identity FX purchased monumental task of isolating the a Mistika system back in October moments of action in the basketball of 2011 to solve this problem. We play, into separate green screen have since executed half a dozen layers. The camera array had to be projects on our system, including moved backwards and forwards stereo optimisation for 20th Century for each and every layer, which, in Fox’s Prometheus, and another itself, resulted in additional issues soon to be released major feature that required resolving. This involved ﬁlm for Sony Pictures.”
“Examining the CP Jumpman Experience, within the context of the Mistika workﬂow that was employed to manage the project to fruition, is where the real magic begins,” enthused Leo. Mistika’s technical pass approach enabled the Identity FX team to quickly eliminate brightness disparities between the cameras, and optimise the green screen for extractions, using its RGB correction function. The R3D parameter tool also allowed for the cameras’ meta-data to be ingested and debayered at the highest quality possible. The warp and de-noise tools in Mistika came in handy for controlling lens distortion and noise, especially in the blue channel. The time warp feature in Mistika gave Identity FX the ability to reﬁne the performance line-up, across the multiple takes. Leo elaborated: “Mistika allowed us to read-in R3D files at full resolution, in 5K without transcoding and therefore saving us a huge amount of time.” In addition, Mistika’s inﬁnite timeline feature made it easy for the team to line-up all 17 cameras vertically in order to synchronise the performances layer by layer and therefore eliminate any fear of drift for our compositing department. To view the Nike project visit: www.nike.com/jumpman23/cp3V/ ■
Despite facing tight and unforgiving deadlines with multiplex project management challenges, coupled with the pressures of a client-driven commercial scenario, Identity FX accomplished success. They delivered complete post-production services which ranged from data management, editorial, pre comp, visual effects, colour correction and online ﬁnishing, using Mistika.
The production team created an impressive set-up, made up of the largest single array of RED EPIC cameras to be used on a commercial at the same time. An array of nine arc-mounted cameras, moved once, for a total of 17 camera positions with a single camera overlap, were used. The Identity FX team faced