Ford C-Max Unfolds out of a Collaboration Between Ogilvy and 1stAveMachine With Stink A man approaches a single, compact, leather, car seat set on a podium in an open symphony hall. Without hesitation, he begins to unfold the seat. From inside the seat of the first, another is revealed, then several more. The man effortlessly pulls out another row like a drawer, then lifts a large car frame from the floor. The gestures are quick and elegant, made with same finesse as a painter. Details are carefully discovered, giving just a sense of the Ford C-Max shape. The spokes of the hubcaps each open from a semicircle, and the headlights are instigated by a slight push-in, before popping out and turning on. A steering wheel unfolds from an impossibly compact opening in the dash, and the Ford C-Max is complete. The Ford C-Max spot, directed by 1stAveMachine's Asif Mian, is the most recent of several projects that 1stAveMachine and Stink have completed together since their European partnership was solidified just last year. The ambitious practical shoot was done in Prague, where Mian, who has a background in sculpture, worked with fabricators and welders to customize each unfolding car prop. The indistinguishable line between practical effects and CG has in large part to do with the effort to stay within the laws of the real world. During the conception stage, even Mian and his team were amazed by how far they could push the practical effects. 'I knew that I wanted every movement to be based in real physics. Once we committed ourselves to that limitation, we really opened the possibilities to a world of advanced rig design.' The design process was aided by creating a 3D previs with realistic movements of each before anything was built. 'It was so important for the art department to have the previs. It laid out exactly how everything should move kinetically. In drawings, this is so much more difficult to show.' In classic 1stAveMachine style, photorealistic CG was used as a way to enhance the practical effects and to embellish on some of the more complex movements. While some might choose to do entire scenes in CG, Mian had a strategy for how to determine exactly what would be done practically from the beginning. 'We decided that anywhere the actor had an interaction with the car, it had to be done practically. I don't like the idea of making an actor pantomime, so we built props for him to handle and used CG to bring it to another level.'
Client: Ford Agency: Ogilvy Creative Director: Camilla Herbertstein Creatives: Steve Clarke &Serge Pennings TV Producer: Lynn Woodcraft Production: Stink UK and 1stAveMachine Executive Producers: Blake Powell & Sam Penfield Producer UK: Fran Thompson Producer CZ: Michael Skop Director: Asif Mian DOP: Martin Ruhe Production Designer: Max Gottlieb Art Director CZ: Jiri Matura Post-Production: 1stAveMachine Head of Production - Ruhiya Nuruddin Head of Creative Development- Ron Brodie Post Producer- Steve Giangrasso Technical Director - Mike Merron Animator- Caius Wong Animator- Jin Yu Animator- Eugen Sasu Animator/Compositor- John Michael Buban Editor/Compositor- Ryan Gottilla Compositor- Paul Daniel Compositor- Chase Massingill Compositor- Alejandro Monzon Compositor- Sohee Sohn Stink, 1 Alfred Mews, London W1T 7AA t: + 44 (0) 20 7462 4000 / www.stink.tv Compositor- Beryl Chen Color- The Mill London Music- The Jungle Groupvia www.coloribus.com