Making of "In Your Hands"

Credits & Description:

Credits:
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 Group


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.”