Broadcast Beat Magazine 2017 IBC Show - Page 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 make sure visual ide ́ɔձչѽQ)Ѽ́͡ɔ)ѡхѱ䁅Ёɽٕ́ͅͼՍ)ѥQЁͻeЁ͔ݔٔѼ)݅ЁȁͽѼݹɽQ@)ٕхиɅ́ݔ)ɅєЁѡѡ՝ЃLЁ́ѡ)ɕѥٔɽ́չɕt)́ՍݥѠɅ䁕)ɕѥٔɽ͕̰Q䁥́ɕɕѼ)хɽЁݥѠ䁍Ёѡݽɱ%ӊe)ٔݥѠɕѥٔѕ+q́ɔѡѡɅ)ͥ䁑ѥ́䁍ɕѥٔѼݡЁ́)хгtՑ́ ɸqQ͔̰)ѡɅ͕ɕ٥܁љɴ٥Յѽ)Ʌ͡ձٕ䁙ˊéѽлt+qɅ݅́ɥ䁑ɥٕȁՍ̳t)̸͕q]ݕɔѼɅ܁ѡ)ѥɅ䵙ɅݥѠѡɕѽ)̰ͥх]ձ)́ȁ́Ѽ٥ͥ)ɥѡѥȁɼЁ)ѡɭ̻t)Q䁅ѥ́ѼѥԴ)ɱݡх͡%ɽ5e)ЁѠѡɽ՝ѡѽݕɥ!) ɽЁ Ё5饹ܹɽщй