Play Crestyl – Savarin Palace

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Crestyl – Savarin Palace

Crestyl is a major player in the development business. This was a great chance for us to prove we could help them succeed at the biggest field event of the year in Abu Dhabi. Crestyl needed to present their new development project “Savarin”. This is how we did it.

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Jan Rybář – VFX supervisor

We saw this project through from the very beginning to the very end. We participated in the conceptual phase, designed the entire model used in the spot, and prepared the animatic for the shoot. I stepped into the director’s shoes and to top it off, we did the entire postproduction. As you can see, it was a lot of work. But thanks to the smooth collaboration with Unit & Sofa, and namely Jan Hlavsa, we had plenty of time and space for our full creative potential and expertise.

Concept

We had to come up with the visual concept for the spot. Build it from scratch. The client asked us to give them ideas on how Savarin could be realized within the framework of the city. It was quite challenging, since our client had only a very rough idea for the whole look of the project. We had to fall back quite heavily on our own imagination.

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Design

The design was closely interconnected with 3D. We worked with a full 3D model of Prague and a 3D model of the Savarin Palace to meet the client’s requirements. Then came the motion design, where we used, for example, particle effects which we designed entirely at the studio.

 

Animatic

We prepared the animatic so that we could use it almost 1:1 during the shoot. This worked great since we could design every single shot, almost frame by frame, with precision. We cut the scenes based on the spoken word of the actor and crafted every movement and angle so there wouldn’t be any surprises during the shoot.

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Shoot

We had to do 40 shots during a 12-hour shoot –  which is a lot, as you can imagine. I had the luxury of great prep work and the previously mentioned animatic. We knew precisely what to do and when, so I could, as the director, focus mainly on the actor and give him the guidance he needed. We didn’t have to test to see if things would work, we knew exactly that they would.

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Postproduction

This phase was where the hard work began. We waited for the actual shots to be able to fit everything we intended into the images. Because the final look of the motion design very often depends on many factors such as grading, we had to see what we we’d be able to do with the actual footage and how much additional work would be required. Thanks to the fact that we had been handed the entire project, we were able to minimise the extra work down to what was really necessary and managed to plan ahead from the very beginning.

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As a final thought, I would like to underline that we can save our client a lot of money and stress if we work this way. We can perform extremely efficiently within a budget, which is something that our clients surely appreciate.

 

  • Concept
    10%
  • Motion Graphics
    60%
  • Compositing
    20%
  • Grading
    10%