Using Ultraviolet pain droplets to sculpt the features and design lines of the new Jaguar F-PACE, 76Ltd Director Nigel Simpkiss goes above and beyond in capturing the beauty of Jaguar’s new car.
Nick Hearne, Global Creative Director notes: “Never work with…’ will now be succeeded with ’liquids and blacklight’, instead of ‘children and animals’. This was a tough, technical shoot to highlight the award-winning design lines of the F-PACE. But when we heard that Ian Callum, the Director of Design from Jaguar, loved the film we knew it had been worth pushing for something this visually spectacular. This film is a great celebration of the Jaguar F-PACE’s double-accolade of World Car of the Year 2017 and World Car Design of the Year 2017. The best possible start for Jaguar’s entry into the SUV market’.
Absolute Post’s team led by Post production producer, Belinda Grew included: Zdravko Stoitchkov (2D Lead), Matt Turner (Colourist), Aaron Masih and James Coore.
Director, Nigel Simpkiss adds: “When we first discussed the Jaguar project back in August, with Nick Hearne from Spark 44, I knew this could be a great opportunity to shoot something incredibly technically challenging and yet really different and rarely seen before.It’s not often I get asked to hold back on revealing the car and with the help of our good friends at Machine Shop, the Phantom camera team from Green Door and my motion control specialist Justin Pentacost, we managed to deliver something very special shooting at well over 1000 fps with a rig that could deliver thousands of paint drops almost simultaneously.
We found the perfect location at an old newspaper depot in Canary Wharf which allowed us to shoot two units, concentrating on the wide shots of the hero car and then swapping over to the macro shots on individual panels whilst the paint was dropped, blown and then dried on the car.
Matt Turner gave us a distinct grade highlighting the distinct properties of the ultraviolet paint and the guys at Absolute created some seamless transitions from the real streaks of paint blown on the sheet metal to the final design at the end.
This labour of love has been over 6 months in the making for me and my Production team at 76 and special mention should go to my Producer Phil Barnes and DoP Paul O’Callaghan for the immense research and development that we did together to make the shoot go so smoothly and successfully.
Also special mention should go to the great team of people from Spark 44 in making it such a collaborative process and to Ben Harrex at Final Cut for editing a number of versions each one distinct and unique. After all these weeks of prep and post production I’m incredibly proud of the outstanding result we achieved.”