VOLVO SWITCH

Thank you very much for letting us pitch on this job. This is really a great project.

Playing with light and darkness, and the magic in between, always creates mesmerising imagery. The idea in this film requires quite a lot of VFX assistance in the execution, - at least for some of the shots.

It will be our task and responsibility to create the desired effects in a way that comes across as seamless and natural as if everything was shot in camera.
To do that, we will need to use a mixture of several techinques. In this document, we will explain briefly how, without getting too technical and nerdy.

At first glance, it can look like a relatively simple task. Just shoot at late night and simply paint out the few windows that might be lit up.
We will be able to do that, at least in buildings far from the camera, but often its not only the window, but also objects that gets illuminated near the window. It could be trees close to the house or other objects with a lot of details that will be too much of a task to paint out in moving pictures.

First of all, -lets shoot as much as possible. It will be possible to create an environment that can be controlled as we wish. Either its a whole street where the house owners are in on a deal, -the street lights can be turned on and off as much as needed, or simply turned off and light department can add their own controllable lights. Or we could choose to shoot on a studio backlot. Having this control and being able to do everything in camera, will be necessary for as many close up scenes as possible.

In other scenes, we imagine that Martin would like to just shoot spontaneously in streets that we are not able to control. In those cases, it could be necessary to replace some buildings with 3D. Its possible to 3D scan an entire street with a so-called LIDAR scanner, which makes 3D modelling much faster.

The tunnel scene could also require a lot of 3D. Possibly the whole tunnel. Unless, of course, we will be allowed to block a real tunnel for some hours and shoot the entire scene in camera.

In the last wide shot, we need to paint out every single light. It a big task but since most of the city is seen on a distance, its still realistic to do.

This is still a very early stage. We will need to know much more about locations and how each shots should be planned before we can decide on how to solve everything.

 

We are looking forward to develop this further with you,

 

Bacon and Martin Werner.

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