selves visually ,” begins Embassy VFX Supervisor Michael Blackbourn .
As with any creative studio working today , Embassy operates in a landscape of total global production . Abstract ideas must be communicated across vast differences , with clients located in many of the world ’ s continents . By providing that “ digital paintbrush ”, Frankie ensures those ideas reach one shore to the next totally intact .
“ Frankie ’ s toolset enables us to really focus in on what our clients truly want , sketching ideas back and forth – that means less creative revisions and better work overall ,” says Blackbourn . “ Furthermore , as Frankie works as a web interface , we can collaborate over any distance , on most any device , with people of every level of technical know-how . It really does take projects over the finish line .
“ We recently completed a commercial for Hong Kong Disneyland ’ s ‘ Iron Man Experience ’, with clients scattered across the globe ,” recalls Blackbourn . “ The director was located in London , the agency in Chicago , and the client in Hong Kong . The project had an aggressive schedule and we succeeded only by using Frankie . We collected everyone ’ s thoughts on the work in real time , turning abstract thoughts into concrete deliverables .”
ROBOTS , CAMERA , ACTION !
The Hong Kong Disneyland ‘ Iron Man Experience ’ spot sees Tony Stark launch from his skyscraper HQ , soaring across the city ’ s waterfront before landing in the park itself to meet and greet his fans .
Given The Embassy ’ s work on the Iron Man films and its established photoreal hard surface pipeline , the team was confident it would deliver the armoured avenger with no problems at all . The main challenge was that of time . Blackbourn and team leaned on Frankie to ensure every available minute was spent as wisely as possible .
Kong cityscape . Iron Man ’ s route was debated in-depth with clients , with Frankie used to draw potential paths for the hero directly on top of empty environment footage .
“ We could scrape up images and movie clips in Frankie and share them , and then draw ideas and export the results visually ,” says Blackbourn . “ The whole team could see exactly where and how Iron Man should fly , right from A to B . Frankie isn ’ t just review and approval – it ’ s a superhero navigation tool too !”
ALIVE WITH TECHNOLOGY
Beyond Iron Man , The Embassy has used Frankie to create and collaborate on over a dozen projects over the last two years , cementing its capacity for global production . Indeed , approximately 95 % of the studio ’ s projects are currently commissioned by remote clients .
“ Frankie ’ s ease of use for both ourselves and our clients makes it viable ,” says Blackbourn . “ We can communicate with clients wherever they are and make sure visual ideas are fully understood . The ability to upload changes in one click and share them instantly amongst a group saves so much time . The concept doesn ’ t die because we have to wait for somebody to download from an FTP or even open an attachment . Frankie means we can collaborate at the speed of thought – it keeps the creative process unhindered .”
As such , with Frankie deeply embedded in its creative processes , The Embassy is prepared to tackle any project with any client in the world . It ’ s alive with creative technology .
“ Email chains are a thing of the past : Frankie easily distills any creative idea into what is most important ,” concludes Blackbourn . “ These days , the centralised review platform and visual tools of Frankie should be in every filmmaker ’ s toolkit .”
“ Frankie was a primary driver of success ,” he asserts . “ We were able to draw the action frame-by-frame with the director alongside us , digitally speaking . We could focus all of our efforts into one vision , ensuring the animation of our hero hit all the marks .”
The Embassy artists needed to be particularly specific when establishing Iron Man ’ s flight path through the towering Hong
Broadcast Beat Magazine • www . broadcastbeat . com • 27
selves visually,” begins Embassy VFX Supervisor
Michael Blackbourn.
As with any creative studio working today,
Embassy operates in a landscape of total global
production. Abstract ideas must be communicat-
ed across vast differences, with clients located in
many of the world’s continents. By providing that
“digital paintbrush”, Frankie ensures those ideas
reach one shore to the next totally intact.
“Frankie’s toolset enables us to really focus in
on what our clients truly want, sketching ideas
back and forth – that means less creative revi-
sions and better work overall,” says Blackbourn.
“Furthermore, as Frankie works as a web inter-
face, we can collaborate over any distance, on
most any device, with people of every level of
technical know-how. It really does take projects
over the finish line.
“We recently completed a commercial for Hong
Kong Disneyland’s ‘Iron Man Experience’, with
clients scattered across the globe,” recalls
Blackbourn. “The director was located in London,
the agency in Chicago, and the client in Hong
Kong. The project had an aggressive schedule
and we succeeded only by using Frankie. We col-
lected everyone’s thoughts on the work in real
time, turning abstract thoughts into concrete
deliverables.”
ROBOTS, CAMERA, ACTION!
The Hong Kong Disneyland ‘Iron Man Experience’
spot sees Tony Stark launch from his skyscraper
HQ, soaring across the city’s waterfront before
landing in the park itself to meet and greet his
fans.
Given The Embassy’s work on the Iron Man
films and its established photoreal hard surface
pipeline, the team was confident it would deliv-
er the armoured avenger with no problems at
all. The main challenge was that of time.
Blackbourn and team leaned on Frankie to
ensure every available minute was spent as
wisely as possible.
Kong cityscape. Iron Man’s route was debated
in-depth with clients, with Frankie used to draw
potential paths for the hero directly on top of
empty environment footage.
“We could scrape up images and movie clips in
Frankie and share them, and then draw ideas and
export the results visually,” says Blackbourn. “The
whole team could see exactly where and how Iron
Man should fly, right from A to B. Frankie isn’t just
review and approval – it’s a superhero navigation
tool too!”
ALIVE WITH TECHNOLOGY
Beyond Iron Man, The Embassy has used Frankie
to create and collaborate on over a dozen projects
over the last two years, cementing its capacity for
global production. Indeed, approximately 95% of
the studio’s projects are currently commissioned
by remote clients.
“Frankie’s ease of use for both ourselves and our
clients makes it viable,” says Blackbourn. “We can
communicate with clients wherever they are and
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