Ford Focus Pop Up
The Ford Focus is being presented as the subject of a pop up storybook in a commercial directed by Bif in collaboration with The Mill, New York. The CG ad shows a new Ford Focus driving through a child-like popup book, passing over varying landscapes and scenery to demonstrate the car’s innovations in fuel efficiency, interactive driver technology and contemporary design.
The Ford Focus Pop Up ad was developed at Zubi Advertising by executive creative director Andres Ordonez, creative director/art director Ivan Calle and creative director/copywriter Angus Kneale (from The Mill), and agency producer Jose Acosta.
Filming and animation was shot and designed by directing trio Bif (Jules Janaud, Fabrice le Nezet, Francois Roisin)
Post Production was done at The Mill, New York, by creative director Angus Kneale, executive producer Colin Pearsall, producer Nic Barnes, colorist Jamie Wilkinson, lead Flame artist Dan Williams, 3D artists Andrew Proctor and Ruben Vanderbroek.
The spot was produced entirely in CG, so to believably depict the Ford Focus car and ensure its photo-real look, a hi-res stills shoot was mounted to capture real reflections and surface textures which were then replicated in CG.
Francois Roisin, one third of the directing team Bif said: “The challenge was to keep the spot playful without making it feel childish. We researched our designs for the book and came up with the Miami-style beach environment idea, then opted for a rounder setting for the forest which is why we used the large rotating sphere; this was a good way to show the uneven road passing by. The bridge was an idea from the original treatment which we developed by using greater contrasts of shapes and ultra wide lenses with the camera flying just above the ground/water.”
He added: “We created the whole spot in Xsi, our initial previs was a single continuous camera shot revolving around the book. We built the book in 3D to behave as it would in real life. The book drives the action and was animated on its own so the pages would stick to it. Finally, we created quite warm lighting, keeping it very sharp and bright but also having soft shadows. We painstakingly added extensive fine details in the paper-like scratches and stressed edges, using a lot of glossy paper as it was more effective in revealing the shape of the objects.”