O2 / Online Network

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Our CGI team were called on to create CGI goslings for the latest commercial in the O2 ‘More For You’ series by VCCP and directed by Academy’s Si & Ad.

Part of the campaign to promote new O2 products, 'Online Network' used a gaggle of fluffy baby geese as a metaphor for their network coverage. 

Executive Producer Fi Kilroe comments, 'The work is the 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
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  • Agency Producer Larissa Miola
  • Agency Creatives Tom Houser
    Christopher Keating
  • Executive Creative Director Darren Bailes
  • Deputy Creative Director Matt Lever
  • Producer Lucy Gossage
  • Executive Post Producer Fi Kilroe
  • CGI Supervisor Harin Hirani
  • VFX Supervisor Jason Watts
  • Colour Grading Paul Harrison
  • Lead Flame Jason Watts
  • Flame Artist Steve Murgatroyd
  • Lead Nuke Kayley Fernandes
  • Lead Animator Paul Templeman
  • Animators Ed Sherwood
    Boris Kossmehl
    Chris Bacon
  • 3D Artists Alaric Holberton
    Kirsty Gillmore
    Rob Sheridan
  • DOP Alex Barber
  • Editor Joe Guest @ Final Cut
  • Audio Grand Central Recording Studios

Making Of Goslings for O2 'Network'

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.’