I love experimenting with photo-real CG (albeit this one is a tad stylised).
My classic Peroni pour animation from 2015 now with some new cuts and some RedShift loveliness.
Crafted in Cinema 4D with RedShift and X-Particles. Composited in After Effects.
Pint, anyone?
My classic Peroni pour animation from 2015 now with some new cuts and some RedShift loveliness.
Crafted in Cinema 4D with RedShift and X-Particles. Composited in After Effects.
Pint, anyone?
A 15-second ‘brand loop’ to be used at various events for Peroni Nastro Azzurro; utilising a further refined model of the bottle I created in Cinema 4D for the previous campaign.
I crafted a Peroni half-pint glass and animated the beer/foam. The liquid pour, carbonated bubble rise and turbulent bubbles were my biggest challenge. I took advantage of the powerful plugin: X-Particles 3, using three different particle systems.
The steam from the bottle opening was created in Trapcode Particular, as were the rising carbonated bubbles in the final glass and bottle scene.
All scenes were produced and rendered Cinema 4D R16 (no GI) using the Physical Renderer and composited in Adobe After Effects.
What began as a quick test to see if I could create a bottle from scratch, transformed into these two ads for Peroni’s Blue Ribbon campaign. Taking inspiration from some of the existing creative, I designed and produced a 10-second Digital Transvision and a 5-second Digital 6 Sheet.
Going into quite some detail into the crafting of the Peroni bottle: From the initial Sweep Nurb for the bottle shape (complete with bubbles cloned onto the bottle using a MoGraph Cloner), to Sub Surface Scattering on the labels I had to create from scratch! All beautifully rendered in Cinema 4D with GI by the Physical Renderer.
The ribbons were also created in Cinema 4D using the Physical Renderer (albeit without GI). I used a Random Effector to turbulently displace a MoSpline that had a thin rectangle swept along it by a Sweep Nurb. I then had one of the ribbons wrap around a model (from a stock library, whom I carefully re-touched in Adobe Photoshop).
Both ads were graded and composited in Adobe After Effects; with the addition of motion blur, animated masks and reflections.