Agency: Publicis
Directors: Adam & Dave

This campaign featured several :30s and :15s starring Bill Hader.  Most featured screen comps and minor screen comp work.  “Fingerprints,” however, needed some work on nearly every shot.  There was some concern that the blood, as shot on set, was too red and gory and needed dialing back.  Using Nuke’s grading, keying, roto and paint tools, I isolated the fingerprints and adjusted them to be browner and darker without changing the grade of the overall shot.  The trickiest one of these shots was a fingerprint the agency wanted removed altogether.

The shot in question shows a closeup of a glass water covered in bloody fingerprints.  One fingerprint in the middle of frame wasn’t working in the composition.  The shot had a rack focus, however, which resolved on the fingerprint and the surrounding glass.  After painting out the fingerprint and painting in some scratches on the glass to match those that were already there, I used Nuke’s defocus tools to keyframe the focus and dial in a bokeh look that matched the rest of the shot.

The largest amount of work went into the screen comp on this shot.  The phone that was shot on set had a crack in the screen that needed to be moved down so that it laid over the part of the screen Bill would have to swipe to answer his call.  The UI of the phone also got a lot of love in Nuke, going through several revisions with the agency before a look was approved.   Once everything was in place, I created a depth map to use with Nuke’s zDefocus node to match the shallow depth of field look of the shot.

To view many of the spots in the campaign, check out this link on Adweek.com here.