I remember reading Spike Jonze said the finger gun destruction scene had digital destruction because the hits had to be so precise to the music, the final petal eye shots had digital removal and added flourishes, and there was some CG work to the tapestry scene, but didn't elaborate further.
Didn't know that, but it makes sense. I would have guessed those things. I always was annoyed by the finger gun. Felt "off" but didn't care that much because it wasn't supposed to be serious. You can tell by some of the rotating objects and trajectories that the petals of the eye are CG. Great comment. Thanks for that.
When u want to make an advertisement that will last longer than the product itself you focus so much time getting everything right in a 5 sec shot !( Which is a very small yet significant part of the entire thing because the ad is defined by these sole shot! Excellence at its best.
Fun note about Contact, they didn't remove a camera from a mirror. That was a blended shot with a blue screen. The DP talks about it on Cooke Optics YT.
If you freeze the video at the :37 sec mark, look at the centre railing - it's obviously 3D. It doesn't look like the real left and right rails. Which also explains how the camera is able to move through the centre rail 4 sec later.
There is a 'hint' of magic in the color grading: she's wearing a green dress, and everything in the environment is monochromatic. When dealing with rgb footage, it's so much easier to split the content into individual color channels and then use those to create highly-accurate masks; Instead of having to select the edge of her dress and then feather for transparency, for example, you can take the mathematical difference between the green channel and red channel in any given scene, which will be near-identical on non-dress pixels and near-opposite on dress pixels. Working with that, then, it's a handy thing to have all the equipment and crew dressed in a different color: in this case cyan or saturated blue would have been ideal, as red would have cast too much saturated ambient glare on the environment that requires so, so much manual airbrushing out in the color grading phase, whereas blue-on-gold simply results in a sort of 'darker' shift without adjusting the undertones too much, depending on the shade of blue used. Cyan would fall somewhere between for this, but due to the fact that bright colors are often strongly avoided by camera crews, it seems blue or simply black would have been the most likely choice. Black of course is most traditional but blue would have been slightly easier to separate from the fine transparencies of her dress. Interestingly, about a year ago, a behind the scenes was posted on youtube (video id SVrcwMLSy7Y), and in it, we see a great amount of blue jeans, blue hoodies, etc, as well as black clothing, as expected. But, most tellingly, there is someone in a bluesuit at 0:16 on the same part of set. It's interesting, really, to see such a simple choice in colors make such a useful shortcut for the 'brute force' editing: it is indeed a trick, a bit of magic, to ease things along, yet in the end, the only real magic is having a team of well-paid editors pouring hours of manual effort into creating beautiful art.
Dude! This is half a celebration of the trickery, HER REFLECTION in the digital mirrors is what ties it all together. Certainly rotoscoped from her plate.
Thanks for this great video to explain it. The only thing that has always bugged me about the commercial is that you can see some glare/reflections from a glass plate between her and the camera during close-ups just after she comes out of the first scene before the music starts, and then a few more little bits later on during other close-up shots. Otherwise, it's a perfect and beautiful commercial!
They didn't have to remove a camera from Contact, the mirror in the shot is actually a shot taken in front of her running, and composited into the mirror
Jonze is the greatest commercial filmmaker (as in film-er of commercials) ever. In our podcast's Spike Jonze episode, we called out this Kenzo ad in particular and this shot has always mystified me. I did assume a shit ton of roto work, but, like you, realized that even that would be unfeasible. In the end, I decided to let it stay a mystery and chalked it up to "I guess Spike Jonze is magic." Nevertheless, this was a nice dive into a shot that I've always wondered about.
But how did they got the footage of her mirrored? You can’t just flip her image, you need her exact movements replicated and filmed with the angles of the camera flipped AND GET HER DRESS RIGHT AS WELL!
Thank you, absolutely loved that. Reminds me of what Richard Feynman said about how understanding the science behind the beauty of a flower doesn't detract from the beauty but adds to it. Again thank you.
brute force engineering done well looks like magic. it is understanding of science, and expression through art. enjoy your life as much as humanly possible, without impacting the happiness of others. Be an irl min/max gamer for the side of good & imagination. ::just a lorax on the internet::
@@abuabdullaah9476it looks like a shamanistic dance and not some transhumanist vatican bs that is built on nothing but lies and deceit. Humans are wild
Wheee. Intuition was saying for a digital mock up of the room to simulate the reflections instead of cutting out cameras on every reflection. I should probably be in a different profession than building cars :(.
Technically stunning and seemless, in your face depiction, of how the all-seeing- eye of the god of this world is worshiped. But I´m just a religious cook, right?
![Fatboy Slim ft. Bootsy Collins - Weapon Of Choice [Official 4k Video]](/img/n.gif)
This is my favourite commercial of all time. The music is perfect, Margaret and the choreography is perfect, then there is the awesome VFX.
So good, right!?
Same. Just so happy I can watch this every few months when I miss it after a while.
Wow, I've never would've realized so much work went into this singular scene
I wonder how much value the work is worth if it had been created in 1985.
I remember reading Spike Jonze said the finger gun destruction scene had digital destruction because the hits had to be so precise to the music, the final petal eye shots had digital removal and added flourishes, and there was some CG work to the tapestry scene, but didn't elaborate further.
Didn't know that, but it makes sense. I would have guessed those things. I always was annoyed by the finger gun. Felt "off" but didn't care that much because it wasn't supposed to be serious. You can tell by some of the rotating objects and trajectories that the petals of the eye are CG. Great comment. Thanks for that.
When u want to make an advertisement that will last longer than the product itself you focus so much time getting everything right in a 5 sec shot !( Which is a very small yet significant part of the entire thing because the ad is defined by these sole shot!
Excellence at its best.
Spike Jonze is briliant, his homepod commercial blown me away
Right?! Love it!!
Fun note about Contact, they didn't remove a camera from a mirror. That was a blended shot with a blue screen. The DP talks about it on Cooke Optics YT.
Are we not gonna mention how the center guardrail disappears when she passes it in the first mirror shot?
If you freeze the video at the :37 sec mark, look at the centre railing - it's obviously 3D. It doesn't look like the real left and right rails. Which also explains how the camera is able to move through the centre rail 4 sec later.
There is a 'hint' of magic in the color grading: she's wearing a green dress, and everything in the environment is monochromatic. When dealing with rgb footage, it's so much easier to split the content into individual color channels and then use those to create highly-accurate masks; Instead of having to select the edge of her dress and then feather for transparency, for example, you can take the mathematical difference between the green channel and red channel in any given scene, which will be near-identical on non-dress pixels and near-opposite on dress pixels.
Working with that, then, it's a handy thing to have all the equipment and crew dressed in a different color: in this case cyan or saturated blue would have been ideal, as red would have cast too much saturated ambient glare on the environment that requires so, so much manual airbrushing out in the color grading phase, whereas blue-on-gold simply results in a sort of 'darker' shift without adjusting the undertones too much, depending on the shade of blue used. Cyan would fall somewhere between for this, but due to the fact that bright colors are often strongly avoided by camera crews, it seems blue or simply black would have been the most likely choice. Black of course is most traditional but blue would have been slightly easier to separate from the fine transparencies of her dress.
Interestingly, about a year ago, a behind the scenes was posted on youtube (video id SVrcwMLSy7Y), and in it, we see a great amount of blue jeans, blue hoodies, etc, as well as black clothing, as expected. But, most tellingly, there is someone in a bluesuit at 0:16 on the same part of set. It's interesting, really, to see such a simple choice in colors make such a useful shortcut for the 'brute force' editing: it is indeed a trick, a bit of magic, to ease things along, yet in the end, the only real magic is having a team of well-paid editors pouring hours of manual effort into creating beautiful art.
Oh man. So awesome. Great great comment.
很专业的解释！ 我在想他们可能预先把所有镜子墙壁都拍成照片，先消除照片里面的相机，然后建立3D模型，然后再拍一次跳舞的动作，然后把舞者和3D模型叠加在一起，就隐藏了相机。 if so ？
Dude! This is half a celebration of the trickery, HER REFLECTION in the digital mirrors is what ties it all together. Certainly rotoscoped from her plate.
Thanks for this great video to explain it. The only thing that has always bugged me about the commercial is that you can see some glare/reflections from a glass plate between her and the camera during close-ups just after she comes out of the first scene before the music starts, and then a few more little bits later on during other close-up shots. Otherwise, it's a perfect and beautiful commercial!
Behind anything being perfect and looking epic, there is a Mont Everest of hard work.
Thank you so much. I had been thinking about this...
Well, they fucked up. The reflection of the central handrail is missing. 1:54
ahaha! Great catch!
They didn't have to remove a camera from Contact, the mirror in the shot is actually a shot taken in front of her running, and composited into the mirror
I would throw in credits to the choreographer, Ryan Heffington too!
Great shout out. Make a video about Ryan!
Jonze is the greatest commercial filmmaker (as in film-er of commercials) ever. In our podcast's Spike Jonze episode, we called out this Kenzo ad in particular and this shot has always mystified me. I did assume a shit ton of roto work, but, like you, realized that even that would be unfeasible. In the end, I decided to let it stay a mystery and chalked it up to "I guess Spike Jonze is magic." Nevertheless, this was a nice dive into a shot that I've always wondered about.
Love Wes's commercials too. And Gondry's. Ads are such a fun medium!
7SUN MEDIA don’t forget Jonathan Glazer. His movies are great, and his ad work is too.
the reason for i want study design¿
just for parfum commercials
But how did they got the footage of her mirrored? You can’t just flip her image, you need her exact movements replicated and filmed with the angles of the camera flipped AND GET HER DRESS RIGHT AS WELL!
why the original video got deleted ?
ua-cam.com/video/NoMqvniiEkk/v-deo.html Here, on sephora brasil's channel
Damn, I was so gripped by her moves and expressions, I didn't even notice the trickery. Lots of work wasted on me... ;)
Thanks! Great explanation!
Thank you!!
Thank you, absolutely loved that. Reminds me of what Richard Feynman said about how understanding the science behind the beauty of a flower doesn't detract from the beauty but adds to it. Again thank you.
brute force engineering done well looks like magic. it is understanding of science, and expression through art.
enjoy your life as much as humanly possible, without impacting the happiness of others.
Be an irl min/max gamer for the side of good & imagination.
::just a lorax on the internet::
that's the girl they posioned in utah?
aw crap.
illuminati symbol in this video..
who cares
It looks like she's possessed with an actual demonic possession. It's not a normal dance at all. Looks like some sort of a ritual dance.
@@mateoooo0o do i care about you?..
@@abuabdullaah9476it looks like a shamanistic dance and not some transhumanist vatican bs that is built on nothing but lies and deceit.
Humans are wild
THANKS
Wheee. Intuition was saying for a digital mock up of the room to simulate the reflections instead of cutting out cameras on every reflection. I should probably be in a different profession than building cars :(.
We are big believers in going for your dreams!! :)
Is this a remake of Fatboy Slim ft. Bootsy Collins - Weapon Of Choice?
Not a remake if it's made by the same director-Spike Jonze!
Бесноватая?
Technically stunning and seemless, in your face depiction, of how the all-seeing- eye of the god of this world is worshiped. But I´m just a religious cook, right?
kook
@@FredericKahler kook
je ne comprend pas , je suis française💔💔💔💔 mais en tout cas j'ai asse d'expériences pour vous dire que c'est "cool" le clip est magique!!!!
Il faut juste comprendre que c'est énormément de travail et que Spike Jonze et Hoyte von Hoytema sont doués d'un talent incroyable
Je suis d'accord aussi la scène est magnifique ahah