Broadcast Beat Magazine 2017 NAB Show NY/SMPTE Special Edition - Page 47

As with the shows they book- end, TV commercials have grown increasingly elaborate in recent years, compressing Hollywood-grade cinematic action into 60 seconds or less. One of the premier producers of Hollywood standard adver- tisements is the German-based Unexpected, which has been outputting stunning work since its founding in 1999. Over recent years the team has produced a bold and propul- sive high-stakes racing advert for Saudi Arabian mobile car- rier ZAIN, and an epic crowd containing Shrek, the Smurfs, Ghostbusters, and LEGO crea- tures as they welcome a family to a sprawling new Dubai Parks and Resorts theme park. “Our specialty is action-driven pieces with lots of motion and creating stunning worlds,” says Unexpected CEO Alexander Kiesl, who oversees the com- mercial department and all visual effects produced. He also co-directs projects with fellow head of VFX, Steffen Hacker. “Most of our commercials are a mix of live-action and anima- tion, which means we have a lot of motion capture require- ments. That’s where Xsens is massively beneficial.” Building character tered Xsens. Unexpected relies on Xsens’ inertial motion capture tech- nology to produce large and thrilling visuals, often within the tight budgets and timeframes that commercial projects carry. Life-changing technology “We like working on digital characters a lot – and that’s why we first turned to Xsens,” Kiesl explains. “If you want to have believable animation within the timeframe a commercial pro- duction gives you – and that’s a very short timeframe – it makes sense to move forward quickly. Xsens motion capture gives you that option.” Unexpected has performed mocap work for its commercials for over a decade, and previ- ously relied on optical motion capture sessions at an external facility. Unfortunately, they team lost a great deal of time and bud- get committing to that pro- cess, including a day for travel and a few days afterwards to sift through the data and find what they needed to bring a project to life. That could mean upwards of a full working week at times, which is painful when you only have three-four weeks of post-production on a com- mercial. Kiesl calls Xsens Unexpected’s “life-changer in terms of anima- tion and motion capture”. Bringing motion capture in- house has dramatically trimmed down the time commitment required for this critical part of the creation process, whic YX[[^XY[ܙX]BܚوH[YH]X[]H[BX[ۈوH[YK'H[[YYX][HYHZ]Y\H\[[و[&BXH8$]\XBZ[ X[^\Y[K8'H^\’Y\ 8'][HYYH™]\]\[H[[[]\[H[\XKB\˸'BH\X[\\H\[ۈ܂[^XY\X] Z[]\8$H\XYX[ۂHHYZ[ۙ^BۘH^\Y[Y HX[x&\˜[[X]ܜ[]\Z\[\Xܜ]HZ]˜[ ]][^K[\\BH[ݙ[Y[^HYY܂H\[ڙX ]8&\\[YX]H8$Y[[ۈ[8$[Y\^\H]H\Y][^XY8&\[[X][ۈX[B\۸&]YY[HX[\[[[^XY[[BY\X]XY^[H8(˘Y\X] H8(