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TAG HEUER
TAG HEUER 2010 TVC
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30 sec and 15 sec. Concept, storyboard, production, direction and shooting, 3D, rendering, postproduction and special effects for the TAG Heurer’s 2010/2011 TV commercial. |
| OVERVIEW | FILM | INFORMATIONS |
In November 2009 TAG Heuer has commissioned I-réel for the conception and the realization of a new TV commercial. Among various concepts they chose this version.
In this movie, a camera turns around a watchmaker. When the action begins it is dawn, the watchmaker is an 1860 man working on a pocket watch in his workshop. As the camera turns the time accelerates, a whole night passes as well as 150 years. The room and all the furniture transform and change. At the end of the movement, the sun has rise on a new morning, and the man is now a 2010 watchmaker working in a contemporary manufacture.
This very simple scenario needed an outstanding complex technical set up, and very careful research and preparation.
Technically, we had to find a way to shoot several pass of the scene with the exact same position at each frame, in order to change the scenery step by step. We chose to use the Milo, an 850 kg (1900 lbs) motion control robot, capable of repeating hundreds of time a camera movement we had created in 3DS max. All the shooting was simulated in 3D, in order to set up the position of each object, the timings and the lighting.
Then we had a careful historical preparation, and visited lots of watchmaking museum in Swiss and France to create accurate 1860 scenery. We designed the furniture and architecture of both 1860 workshop and 2010 manufacture, keeping in mind the transformation, so that the various elements would match. We found old tools and machines lent by museums and collectors, and Bergeon lent most of the contemporary tools.
The technical and artistic preparations took more than 3 months.
The shooting was made on an 800 square meters set, near Paris. The set was completely painted in green, and we placed 460 KW of lighting above it, with ten different ambiences. It took 3 days to shot more than 40 passes for each period.
The sequences were stabilized and assembled, and all the scenery has been rebuild in 3D to create the morphing and transformations. The 3D modeling, rendering, the rotoscoping, keying, stabilization, compositing, color matching, and the creation of the special effects took more than 300 day / man.
The music was especially composed for this movie.
In this movie, a camera turns around a watchmaker. When the action begins it is dawn, the watchmaker is an 1860 man working on a pocket watch in his workshop. As the camera turns the time accelerates, a whole night passes as well as 150 years. The room and all the furniture transform and change. At the end of the movement, the sun has rise on a new morning, and the man is now a 2010 watchmaker working in a contemporary manufacture.
This very simple scenario needed an outstanding complex technical set up, and very careful research and preparation.
Technically, we had to find a way to shoot several pass of the scene with the exact same position at each frame, in order to change the scenery step by step. We chose to use the Milo, an 850 kg (1900 lbs) motion control robot, capable of repeating hundreds of time a camera movement we had created in 3DS max. All the shooting was simulated in 3D, in order to set up the position of each object, the timings and the lighting.
Then we had a careful historical preparation, and visited lots of watchmaking museum in Swiss and France to create accurate 1860 scenery. We designed the furniture and architecture of both 1860 workshop and 2010 manufacture, keeping in mind the transformation, so that the various elements would match. We found old tools and machines lent by museums and collectors, and Bergeon lent most of the contemporary tools.
The technical and artistic preparations took more than 3 months.
The shooting was made on an 800 square meters set, near Paris. The set was completely painted in green, and we placed 460 KW of lighting above it, with ten different ambiences. It took 3 days to shot more than 40 passes for each period.
The sequences were stabilized and assembled, and all the scenery has been rebuild in 3D to create the morphing and transformations. The 3D modeling, rendering, the rotoscoping, keying, stabilization, compositing, color matching, and the creation of the special effects took more than 300 day / man.
The music was especially composed for this movie.
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