The Meta Portal existed briefly, like a concept car. It was designed for one thing: connecting people.
We envisioned this connection as a signal carried through space and arriving as light on a screen.
Filmed in-camera using our PlateLight approach, allowing the illumination from this traveling light to reveal the Portal.

THE APPROACH

We needed the flexibility to place the Meta Portal in various environments with moving light sources which cast light onto the surfaces of the product.

These environments of moving light needed to be added in post, but we wanted to work with real light on the actual product, so we filmed using PlateLight. This allowed us to capture each lighting angle in the studio as a separate piece of footage from one take. By combining these light sources in post we control the intensity, color and masking of all lights independently.

This also gave us the flexibility to create multiple versions using the same footage.

Our friends at ARTJAIL added their magic touch, weaving a fun line between the warmth of real in-camera VFX, light trails, and photons reimagined as pixels

We were given the opportunity to create a world of light, music and dance through a series of commercials for LG Signature with the extraordinary Misty Copeland

THE APPROACH

Of the series of commercials we created with LG Signature, this one became our favorite. Inspired by the thin, light illuminating glass plane of the OLED Rollable TV, we see a stage of thin, glass like planes. Misty interacts with and moves through these planes, which can emit, reflect or change light.

Our director Carlo Van de Roer worked with James Whiteside of the ABT and Misty on choreography that leads us through this world of changing light planes and reflection, accompanied by a musical score created for us by Ezinma.

THE SHOOT

This was an enormously fun collaboration, bringing together extraordinary dance, choreography, music, robots and film-making tools like PlateLight and DynamicLight all on one day — it felt like magic.

TECHNOLOGY

PlateLight was used to capture multiple lighting looks for the scene in the same take. We then separated these different in-camera lighting looks using the shapes of the vertical planes.

DynamicLight gave us moving light to carry the energy of movement within moments of slow motion.

THE POST

PlateLight provided a great deal of flexibility for creating the planes of light and for timing of changing, interactive lighting. Because we have the scene recorded under multiple lighting looks we can control the lighting and timing of this lighting after it has been shot, while retaining an in-camera look and feel.