Shane Griffin: \u201cThe film speaks about the DNA of Genesis, and something at the core of the brand is this two-line motif. We see it across the product design, along the road surface it drives on, and the tire marks it leaves in its wake \u2013 so we wanted to subconsciously weave it into every scene. <\/p>\n
\u201cThen we layered on the element of surprise, how can we keep reinventing the way we see these lines, what new visual tricks can we employ, while keeping it somewhat subconscious. It became a delightful puzzle to solve.
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\n\u201cWe designed the FX in a very free and unbound way, more so creating a feeling rather than a particular effect, after all, how do you depict the essence of an idea, or visualize creativity?\u201d<\/p>\n<\/blockquote>\n
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\u201cIn the spot, we weave between consumer vehicles and concept cars, showing how this DNA is shared across all their product touch points, whether it be a sedan, a concept SUV, a Le Mans racer, or a high end chauffeur car, the Genesis design language remains a constant. <\/p>\n
\u201cEach car and each world called for a unique look, so a traditional edit felt a little jarring \u2013 the smooth transitions were a creative choice to unify these worlds, making it feel like a fever dream. <\/p>\n
\u201cTechnically, we designed the FX in a very free and unbound way, more so creating a feeling rather than a particular effect, after all, how do you depict the essence of an idea, or visualize creativity? You can\u2019t really, so you rely on translating an emotion with movement. <\/p>\n
\u201cWhen we started the project, we had a rough idea to use lots of volume FX for the transitions, clouds, smoke, ink, etc. So we prototyped a lot of these (which you can see in the process reel), and as the elements became closer to the Genesis DNA, we would find a place to integrate it into the story. We used Embergen to prototype a lot of these FX, before moving them to Houdini.\u201d<\/p>\n
Watch the process reel:<\/strong>
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