Primary Collaborates with a52 and Rock Paper Scissors on the Microsoft Mesh Campaign
One of the many revelations born out of the events of the past year has been the significance of human-to-human connection. The impact of not having regular exchanges revealed itself in many ways across the world. Whether it was the lost hands-on collaboration on a work project, the loss of casual conversations with check-out clerks or neighbors, or the loss of communing with loved ones during the holidays, what became crystal clear is that we perform and feel better when we are connected.
Simultaneously, continuing advancements in 3-D technology are facilitating remote connections and collaborations with immediacy and ease. Microsoft Mesh is one such technology that is innovating in this space by powering holographic experiences, therefore allowing people to connect in real time, no matter where they are physically located.
The performance of Microsoft Mesh is illustrated in a new campaign directed by Mindcastle, produced by Sanctuary, color by Primary’s Daniel de Vue, edited by Rock Paper Scissors’ Ted Guard, and with VFX by a52. As colorist Daniel de Vue described, “A major benefit of having all the post work done under one roof is the flexibility and communication you can have at the earliest stages in the process. The earlier color, editorial, and VFX artists can share and access knowledge about a project, the stronger it will be.”
Depicting Microsoft Mesh’s holoportation technology as used in personal, professional, and recreational settings presents a quiet irony that people rely on advanced technology to help spark meaning in their lives and comfort their souls. Handling this contrast across creative was largely aided by the early communication between Mindcastle (Danielle Krieger and Casey Warren), the DP Pat Scola, and the artists under the fold at MakeMake.
From the top, Daniel worked closely with VFX Supervisor Jesse Monsour, which gave him early insight into the holographic VFX that would not deliver until after his first pass at color grading. Armed with the knowledge that the holograms would have a cold, scion-blue tone, Daniel established a philosophy to imbue the spot with a warm grade. “Modern technology can be very clean and sterile, so we wanted to compliment the high-tech with a soulful vibe.”
The directors’ and the DP’s cinematic aesthetics also aided Daniel’s ability to highlight fragile light pockets, which was elemental in creating the spot’s soft and humanistic feeling. “Everyone involved in the collaboration embraced the soulful elements, and I think everything ended up complimenting each other really well.”