For Cuprinol’s first television ad campaign in more than ten years, Director CD Morrish and advertising agency BBH London have created For Your Great Outdoors, a naturalistic commercial with beautiful aesthetics. After a specific request to work with Framestore, the team was excited to work with the Director to provide a colour grade and VFX that would complement the breath-taking imagery that had been captured for the film.
A visually-rich film shot in New Zealand, For Your Great Outdoors takes viewers on a flight through several landscapes, each featuring Cuprinol-painted garden furniture or sheds. Colours of nature are matched to the Cuprinol products on display in the film and were enhanced by a grade from award-winning Colourist Simon Bourne. Morrish has long admired Bourne's work and knew he'd enrich the painterly aesthetic of this visually epic film.
‘The colour brief for this film had to be delicate and sensitive to specific hues of colour and texture while being mindful all the technicalities that were involved,’ said Simon Bourne. ‘The approach was to create a beautiful world of landscapes which act as the backdrop to the specific colours in those scenes so they really had to register.’
Talking about Simon's work, Director CD Morrish said:
The best in the world and more importantly, has an approach to colour that matches technical precision with pure visual joy.CD Morrish - Director 'For Your Great Outdoors'
As well as Bourne’s grade, the creative studio also provided what Suzanne Jandu (Head of 2D) describes as ‘invisible VFX.’ Working on a film that isn’t reliant on VFX meant Framestore’s role was to enhance the featured natural landscapes with effects that blend as seamlessly as possible into the film’s shots. To really achieve Morrish’s vision of the natural, the creative studio’s work included digital matte paintings to provide more picturesque backgrounds and the addition of both 2D and 3D birds throughout. The movements of these were designed to complement the camera’s feeling of flight that Morrish was striving for.
‘I really enjoyed working on this job because our goal was to make sure the VFX touch was as light as possible,’ said Jandu, who worked as the 2D Supervisor on For Your Great Outdoors. ‘We needed to add texture and interest to the shots, instead of taking them over. This included creating lavender fields which aren’t found in New Zealand and adding more pollen into the atmosphere, for example. The director’s treatment for this film was one that championed the feeling of nature and that’s what we always kept in mind when delivering VFX.’