Client: GSW
CGI: James Gardner-Pickett & Clive Biley
Retouching: Clive Biley & James Gardner-Pickett
Photographer: John Parker

We at Atomic14 love jobs like this. BIG, ambitious and a challenge! A huge flowing crowd of mucus monsters marching past camera, spewing off of a giant monster made from little ones! This needed all of our talents and skill sets; from digital sculpting to sketch artists; to the latest CGI tecniques combined with Photography from renowned Photographer John Parker.
We hope you like the end result in this playful depiction of an unusual event!

BEHIND THE SCENES
PENCIL SKETCH IDEA STAGE
We get our talented sketch artists to work, let loose on the creatures needed for the ad. This early stage is critical to the outcome of the job. Its where visions come to light, where you can start to see emotion and character, and forms take shape.
This rapid development stage is great for the meandering flow of creativity that lets something evolve each time agency or client see it, we can adapt to what they want here quickly.
DIGITAL SCULPT STAGE
Each Character then goes onto the 3D model production stage, where we take the sketches and create them in 3 dimensions, in a digital sculpting software package called Zbrush. This stage is really fun, and is great for clients and agencies to get a better feel for the characters, as we can rotate and manipulate them; which means this stage is very flexible and adaptive to the needs of the job. 
We paint the characters digitally too, to give them the slimey and gooey, scabby looks they needed. 
For this huge crowd of creatures, we needed to have many different variants of the each character, in differing poses and emotion.
This involved sculpting around 10 different variants per character, that we then scatter to create a huge flowing crowd!
SHADING & LIGHTING STAGE
Next we take the sculpted creatures, and then apply physical shaders in the computer that mimic real life materials, such as mucus and the underlying scabby skin.
We use the real world lighting information captured in a 360 high dynamic range photo, that matches the on location real shoot.
SCENE BUILD STAGE
This is where we take the 30 or so variants of the characters that we sculpted digiitally, and built a crowd simulation, which means the computer builds the flow of the crowd based on a set of rules. We have many controls on this which means flexibility in getting the layouts to work.
FINAL RESULT
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