check out our Flickr
connect on Linkedin
follow our Facebook
our Vimeo channel
twit twit Twitter
visit our Behance
In a nut shell, we could summarize the project in four weeks of pre-production: characters design, shooting, layouts, key colours and meetings, a lo tof meetings.
Then, four weeks more of production and post production: creation of the approved characters, preparing the scenes in the layout, set up of the characters, animation of every shot and finally the post-production.
As anecdote we can tell that we finished one day before the final deadline. This never happened before, and has never happened again since then.
 |  |  |  |  |  |  |  |
 |  |  |  |  |  |  |  |
 |  |  |  |  |  |  |
The main challenge was to compress the storyline into 20 seconds: the client had clear ideas on the development of the plot and the images they wanted to see: close ups of a frightened louse, its home, it bolting the door, a close-up at the window, a moving wave and the louse being killed. (We had presented a simpler version based on Armageddon using droplets and the louse attempting escape on a motorbike but this was thrown out.) We even managed later to further compress this version into an even shorter 10 second spot!
The second challenge was the visual aspect of the scalp. We wanted to create a “fantasy hair world” akin to a fairy-tale forest whilst keeping the scalp at an appropriate scale; we started working with a chaotic, jungle-scape but soon realized we would have to work with fewer hairs and scale and position them carefully so that the hairs could emerge vertically (like trees) and then fade into a white sky to achieve the desired effect.
One of the most distinguished parts of the project is the union between two different techniques as 2D and 3D, and make difficult for people to know which part is each one of them. When the camera moves it is demanded that every element in the scene seem to have a 3D volume, but in order to reach a more pictorial aspect in the spot we created a lot of camera-mapped element in every shot. At the same time we took the “shading” somewhere in between painted and realistic, to match this 2D+3D technique.
In the final part of the post-production process, we wanted to create a big amount of “optical mistakes” that you can find in a real camera, such as chromatic aberration, huge depth of field with the blur and also optical deformations. Thanks to these things we got to do a “realistic-cartoon” piece, which is one of the things we most love to do.