The slick spot moves seamlessly from one image to the next using clever geometric based design to depict various aspects of a highly desirable lifestyle, personifying the 'ghost' or essence of the car and it's owner.
This Mill+ team were on hand from the initial treatment and previz stage, though to production and post to ensure the piece was finished to the highest quality, matching the polished look of the Rolls Royce model itself.
Mill+ Director FILFURY explains, 'This was a dream project to work on - design elegance, routed in geometric form, symmetry and simplicity. This was the story of 'I AM GHOST'. I had an incredible team helping me bring my vision to life, backed up by the trust from Daughter.Studio.
The result is a dark sophisticated image palette with rim lit form. This was design lead, sexy and cool. Confident mark making through a beautiful celebration of the Ghost form. This isn’t design for design sake however, there is substance and storytelling.
My approach (as always) was graphic and abstract. I wanted to play with the curvature of the vehicle, its lines, textures, features and build. Then marry these design attributes with a beautiful graphic language inspired by the world of our Ghost owner.
In essence this is a day in the life of our Ghost owner, but much more abstract. Matching vehicle form with architecture, objects, motion and nature. All breathtakingly elegant and purposeful. My desire was to hint at luxurious, functional design found within our owner’s life, and do this through a palette of clever reveals and transitions.
I wanted something textural and emotive, not the normal approach to a car commercial. I was thinking title sequence beauty, seamless transitioning moments of wonder, more music promo and fashion film.'
Mill Lead 3D Artist Dan Moller continues, '‘Director FILFURY deftly helmed the project from start to finish and was an absolute pleasure to work with.
One of the main challenges of this spot was working out how to blend a large number of shots together; it's about three quarters of the way through the film before a hard-cut takes place.
Through careful previz and shot development, rapid iteration with both rough 3D and testing in 2D we were able to find some quality solutions. By leveraging all our departments against this problem-solving process, from concept to motion graphics and design through to CG and 2D we were able to easily troubleshoot all problems put before us.
A key challenge came in art directing the rolling highlights across the form of the Ghost. We rendered reflected UV passes, then rotomated gobo shapes over the top using STMaps in Nuke. These gobo sequences were then rendered back out of Nuke, plugged into the UV shapes in Maya and rendered back over the car. This resulted in a speedy and intuitive solution to the highlights problem through a slick collaboration between our 2D and 3D departments.
It was important to Rolls Royce to differentiate the Ghost film from their other product films, primarily through an emphasis on colour. This became a particular focus for our lighting team to ensure this was communicated as effectively as possible, and also played into our post treatment in 2D.
During this phase led by Mill 2D Lead, James Mac, lens elements were carefully selected to add both texture and colour to each shot, with those finishing touches truly elevating the film.’