O2 / Online Network / Behind the Scenes
From extensive references of anatomy and physiology, the goslings were built in the digital environment from the skeleton up. An anatomical structure built below the surface directly affects the realism of joint and muscle movement when animated in CGI.
CGI Supervisor Harin Hirani explains, ‘One of the biggest difficulties in creating the goslings was achieving realistic looking feathers. Goslings are covered in soft down that give them their fluffy appearance. Colour variation and randomisation was built into the fur system in order to make it look as natural as possible.
'As we were creating a gaggle of 5 goslings, the look and appearance of the feathers was altered for each one to differentiate them. Some shots required extra simulation on the feathers for collisions, like tickling, which meant building a 3D geometry for the object it interacted with, e.g. a hand.’
The work is a culmination of a great 5 month collaboration with Larissa, Tom, Christopher at VCCP and Lucy and Si & Ad at Academy. Although challenging visual effects work, it has been immense fun to create. Work to be proud of.
- Director Si & Ad
- Agency/Client VCCP
- Production Company Academy
- Executive Post Producer Fi Kilroe
- Colour Grading Paul Harrison
- VFX Supervisor Jason Watts
- Lead Flame Jason Watts
- Flame Artist Steve Murgatroyd
- CGI Supervisor Harin Hirani
- Lead Animator Paul Templeman
- Lead Nuke Kayley Fernandes
- Producer Lucy Gossage
- Agency Producer Larissa Miola
- Creative Director Darren Bailes
- DOP Alex Barber
- Editor Joe Guest
- Audio Grand Central Recording Studios