Honda is launching a spot via AOR RPA/BNS for the 2011 Honda CR-V during the Superbowl XLV. The ad is using the idea of a computer weather prediction (5-day forecast) panels that one would see on a weather site. The ad shows the CR-V rolling over unpredicted weather, rain/snow with numbers at the top. When the camera pulls out of the shot, the numbers are those of the weather forecast temperatures and the car drives through panel to panel on the forecast window. The voiceover touts the Real-Time 4WD and VSA as the selling points of the CR-V, "Capable, whatever the forecast."
Here's the PR:
By using artful graphic design, seamless visual effects, flawless finishing and the lighthearted visual storytelling that BNS is known for, the finished :30 spot conceived by RPA’s creative team and directed by BNS director Ben Go offers a refreshing, eye-catching take on traditional commercials showing vehicles being driven. The agency’s creative brief called for Ben and his colleagues to use the storytelling framework of a five-day weather forecast to demonstrate the CR-V’s driving capabilities under different conditions. “Another important part of the idea was to tease viewers with mysterious, giant type, that’s only partially visible in the sky, while the CR-V drives from one set of weather conditions to the next,” Ben explained. “In the end, we reveal that the type is part of the weather forecast graphics.”
“This time of year, people all over the country are sitting there looking at some pretty miserable weather forecasts. We wanted to take them inside the world of one of these forecasts and literally show that the CR-V can handle whatever nature offers—a timely and pertinent message,” said Jason Sperling, SVP, Group Creative Director at RPA. “BNS created a beautiful blend of real environment and graphic forecast elements. And did it on a production calendar not much longer than a five-day forecast.”
With a background in design, painting, photography, and a degree from Otis College of Art and Design, Ben joined BNS when the company was starting out 10 years ago. Over the past decade, his impeccable eye and fine arts aesthetics have impacted high-profile projects for many prominent television networks and other consumer brands.
For this project, Ben and his colleagues, including director of photography Bill Bennett, planned out a very ambitious single-day live-action shoot in and around California’s Santa Ynez Airport. “We really wanted to grab the audience’s attention instantly with the beauty and sophistication of the spot,” Ben began. “To achieve that, we opted for a look that’s both real and graphic, both stylized and photoreal… a good mixture of fact and fantasy. On location, we wet down the road, and had practical snow on it as well… then we composited partly realistic and partly graphic rain and snow in the finished shots. The sunny environment in the original plate we shot was also replaced with different CG environments to match the different weather conditions.”
On location, the BNS team used the ARRI Alexa digital camera system to capture HD source footage. Also, a crane car called The Edge System from Performance Filmworks allowed the crew to capture the moving vehicle from various angles as it appeared in different situations at and near the picturesque airport.
For BNS VFX supervisor Vadim Turchin and many studio artists, the first steps in post were to track the live-action scenes and rotoscope the background and the CR-V. A matte painting was created for the background, which was projected onto 3D geometry in Maya. All the elements were then put together in After Effects, along with additional plates, particle effects, and initial color correction. Final color was handled in Autodesk Flame.
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