Consumers are constantly surrounded by ads – from the moment they wake and check WeChat to the ads on the subway. It is seemingly impossible to escape the world of advertising. In this barrage of ad overstimulation, it is easy take for granted the work that goes into even the seemingly simplest of ads. Stride Rock’s summer commercial created by Saatchi & Saatchi, Greater China, is one of those ads that everyone has grown accustomed to on the Shanghai subway as they rush to their next meeting. But if you slow down a minute, you might just wonder how they actually got that fruit to explode, or capture so perfectly that lace of liquid.
Saatchi & Saatchi’s production team and Shanghai production company Keypoint Productions opened up to SHP+ to share a few tricks of the trade, explaining just how those slow motion liquid shots were captured and how a whole city can explode with fruit.
盛世长城制作团队携手来上海制作公司Keypoint Productions，跟SHP+分享了其中的小秘密 — 液体慢镜头是如何捕捉到的，整个城市如何上演水果大爆炸。
Behind the scenes of real exploding fruit
Keypoint Productions shared, “To prepare, we needed a lot of reference materials, and after repeated rounds of discussions, we finally chose to capture the fruit explosion in real-time, with three-dimensional CG added in during the post-production process.”
For the fruit explosions that appear as celebrity William Chan walks down the street, these were done in real-time with special cameras, equipment, and props. Director Binn KT with the art and props team in Thailand repeatedly tested and shot the fruit with the aid of explosive air bombs that launched the fruit 1.8 meters into the air.
Director’s notes on fruit explosion tests
At the same time, individual fruit explosions had to be photographed to ensure the final balance of lighting, texture, and movement of the fruit fit the whole look of the shoot when paired with the regular street scene of William and the other talent.
The final image was created by overlapping the live footage of William, in combination with the real-time capture of fruit explosions and then with touch ups and final adjustments of color and size in post production.
Binn KT explained, “As you can imagine, it’s hard to control liquid’s exact movements, so to get the cut I wanted, the slow-motion liquid shots all had to be done in post-production – using the image created in the real-time simulations as a reference. Each individual part of the liquid – the trickiest to simulate in 3D – to the fruit pieces were created separately, then layered into one image. So the result you see is individual images that were carefully created and then put together for one final moving image.”
Binn KT解释说，“可以想象，很难控制液体的精确运动，所以要想找到满意的画面，液体镜头的慢动作都要放到后期去做 – 利用实时模拟的画面作参考。一片一片的水果迸发出的每一个水珠（这也是3D模拟中最难的部分），都是单独做出来的，然后再一层一层叠加做成一个画面。最终观众看到的，其实是小心翼翼所做出的每一个画面，通过合成而做出的一个完整的移动画面。”