META ITS YOUR WORLD
Meta, It's Your World evolved from a very fun pitch into everything you're going to see below and much, much more.
Initially thought to be a project where we would have talent participate on their own with
self-capture, we quickly pivoted into a nine film, multi-month/location, live-action shoot, with two weeks of post allotted for each film.
A daunting task, you're probably thinking, and that is not incorrect. We jumped in at full speed and crafted as much as humanly possible within each film's schedule.
It's important to talk about how we got here, so here we go.
From the very start of the project, we took to boarding out scripts and concepts based on client/creator intentions.
These are very concise films, and we tried to pack as much as possible into each script to get the most out of each 15-second movie.
The live-action process for the first wave of the project required a very reactionary but precise shoot plan and setup.
We had access to each creator's floor plans and on-site photography, but in many cases, decisions were made on the fly with both Meta and talent to find the best moments for each shot and resolve where to place lights and cameras.
Both Wave 1 and Wave 2 were very run-and-gun in execution and required all involved to react quickly as only one shoot day was allocated for each film in Wave 1
Below are examples of before and after for each shoot, outlining how much set dressing and arrangement had to go into each shoot.
On-set VFX capture and data wrangling.
To ensure the post team would have all the information required for a fully integrated CG/Live-action film, time was allocated each shoot day to capture HDRIs, LIDAR scans, object scanning, and general set reference photography.
All of the data facilitated heavily in post in terms of tracking, modeling, lighting, and other decisions made during the post phase of each project.
Motion Design Titles and Type
The most important part of the project comes in with type and motion design. As this is the product, many hours of design and animation were devoted to this phase.
Working with supplied UI's for Instagram, Whatsapp, and Facebook Marketplace, we immediately started converting these elements into 3D to get the most out of integration into our live-action worlds.
Timing for all UI elements was established in edit with the client and later properly animated and designed both in Cinema 4D, After Effects, and Illustrator. This was an arduous multi-step process with many eyes on this particular phase, so getting everything perfect here was most critical.
Director Dan & Jason
Agency Creature of London
Production Co Hornet
Executive Producer Hana Shimizu
Head of Production Sang-Jin Bae
Development Producer Kristin Labriola
Producer Niki DiCesare
Editor Anita Chao
Production Coordinator Riley Spencer
Pre Production
Storyboard Artist Stephanie Dere, Mike Ricca
Color Artist Peter Nguyen
2D Character Designer Dan Abdo
CG Character Designer Tal Rachmin
CG Character Modeler Javier Leon
CG Environment Designers Eric Lane, Ivan Joy
Live Action
Line Producer Patrick Duguid
Production Supervisor Katie Keith
1st Assistant Director Robert Thorpe
Director of Photography Aadel Nodeh-Farahani
Focus Puller Jeremy Fusco
2nd Assistant Camera Rob Webster
Art Director Jack Kirby
Art Assistant Henry Collins
Liquid Specialist Ray Spencer
Gaffer Scott Heapy
BB Electric Simon Ingram
Electric Jonny Gaskell
Key Grip Tony Shults
DIT Matt Cole
Script Supervisor Jane Fryers
Video Playback Chaz Northam
Sound Nick Robertson
Makeup & Hair Niki Henry
Wardrobe Stylist Emma Lipop
2D
2D Lead Mike Luzzi
Lead Animator Sean Lattrell
Animator Sara Litzenberger, Sami Healy
3D
CG Lead Eric Lane
Compositor Lead Alex Dreiblatt
Modeler Eric Lane, Ivan Joy
Texturer Eric Lane, Christine Kim, Christine Ku
Pre-Viz Tyler Heckman
Rigger Michael Altman
Lighting & Rendering Eric Lane, Christine Kim, Christina Ku
Compositor Carl Mok
Animators Hee Jin Kim, Tyler Heckman
3D Generalist Garrett Norlin
VFX
VFX Supervisor Eric Lane
FX Artist Justin Maynard
Colorist Seth Ricart @RCO