Challenge Yourself: A project analysis

I wanted to let the imagination run wild – a bold decision, but not the most sensible one, as this was a concept spot as part of a Specfilm production. We were not blessed with an excessive budget right from the start. Therefore, every newcomer or low-budget production is advised to make creative compromises for a good result. The story involved a fantasy-laden workout of a fitness athlete on a deserted airfield with self-acting tractor tyres and a falling mega dumbbell to give the commercial’s claim “Challenge Yourself” a meaning all of its own. As this required a lot of elaborate visual effects, it became clear that it would be better to do most of this as in-camera effects and concentrate on just a few visual effects, as otherwise it would just become a never-ending story in post. After sufficient preparation, it was time to start shooting.

As editor on this project, I came into contact with many other departments that I don’t usually work with directly. This resulted in both instructive and interesting dialogue. I was able to bring my editing experience to the set and provide important feedback: Which lengths, timing and reactions are absolutely necessary for the cut in order to make it flowing and exciting. But it was also instructive for me to learn what is easier and what is more difficult to realise within the available shooting time and especially working with sunlight during outdoor shoots. And so together we found a way to get the best out of the project.

Finally getting it right: The filming

I was able to use the beautiful airfield near Schleißheim for the location of the spot. It has a special landing field with a spectacular hangar in front of it. The film crew spent two challenging days shooting at this location in August 2017. We had a tight shooting schedule to get the scenic resolution through.

We shot with a very nice combination: Arri Alexa Mini with Vantage Hawk V-Lite lenses with plenty of available light. To optimise this, a lighting crew under the direction of the experienced head lighting technician Kai Giegerich worked together with our DoP Holger Jungnickel. We were very conscientious with the VFX shots and tried to deliver good plates for them in the best possible way with a lot of imagination in mind. We also collected a lot of additional footage for this. True to the motto: Better too much than too little, because what you have, you have! A few sunburns later, it was with joyful relief that filming was completed.

Pro tip: If you have a very high forehead, don’t forget a hat or sunscreen when filming outside.

We’ll fix it in post

After the shoot was successfully completed, there were only a few hard drives left with 5 hours of footage for a 1-minute film – so it was time for data management. Although there were enough backups, the filming data was also stored on a NAS server, which was operated in Raid 6. It is also advisable to keep the backup hard drives within easy reach in the cupboard, but also in a second trusted location – Murphy’s Law can take you by surprise, because any device can fail. So for the time being, sufficient security was ensured.

The editing took place in Avid Media Composer. Several Avid projects were created: three projects for the respective footage, separated according to the different resolutions and a main project for the editing. There was also another project for the final mastering.

Because the main editing project became a bit too sluggish/slow for me, I set up a new project for finishing, in which I handled all the final imports. Quite simply to avoid overloading the projects too much and thus remain flexible. Editing was done at an editing suite that was equipped with a Thunderbolt raid in order to be able to work effectively with ultra-high-resolution footage. Despite linking the footage accordingly, we also worked with transcoded UHD Avid media files and then used the Relink function to guide the footage back online. A generated look-up table that could be applied to all images proved to be very helpful. Simple, convenient and practical to avoid having to cut without colour or apply complex colour corrections in the edit. This meant you could concentrate fully on the cutting. This created the pipeline for post-production and editing could begin.

Cutting first

I would like to start by disabusing anyone who thinks that what was shot exactly according to the script can simply be edited down. That’s not the case, because nothing is shot for editing! Precisely because people put a lot of effort into it and worked well according to a clear concept, there is now a very good chance of making a good film out of it. So there was a lot of good material waiting for me and it was overwhelming at first. So I decided to divide the film roughly into four parts, despite good key numbering: Hangar, Tyre Contact, Tyre Action, Axle. Because the simpler the workflow is, the more effective it is.

I dispensed with a classic view with timecodes. Accordingly, I compiled the settings of the parts with the corresponding takes into sequences. If I came across individual takes that I found particularly interesting but couldn’t yet categorise, I simply put them to one side and named them accordingly. I always included a generous amount of meat at the front and back of the clips when compiling. This created well-organised feeds for the edit. Nevertheless, to be on the safe side, all the material was also stored in separate, appropriately labelled sequences, because nothing can be more tiring than clicking through a lot of clips again. I now had a good overview of the material and had made a relatively effective selection, which made the main creative work much easier.

Rough cut

Now the aim was to get a first rough cut to see whether all the experiential elements would come to fruition and whether the film would work emotionally at all. The first version was actually still too long, but it went through very well. I screened this rough cut in front of selected people to get an insightful external perception. Together with this feedback, it was back to editing. The idea was born to make both a film and a commercial version. A longer film that takes more time and achieves a more intensive level of experience, and a shorter commercial that achieves a more dynamic, promotional effect. After further dialogue, the cuts became increasingly finer.

It’s always fascinating to see what you can get out of editing for your film when you don’t think you’ve seen any optimisations for a long time and yet, after a while, you understand, reinterpret and implement these things. It’s a great creative experience to have lived through this. Editing is also about pushing yourself to the limit again and again, just like our fitness heroine in the film.

3D: Think!

3D artist Patrick Wagner took on this challenge. Patrick was responsible for the design and realisation of the mega-axis as well as its animation and the creation of the “Challenge Yourself” typoshot in the commercial. These were certainly the biggest construction sites of the project. During the editing process, the exact timing was determined and it was decided which raw material would be used and what would be used as the plates for the 3D animation.

However, when working with Patrick, it quickly became clear that we still needed to make a few small changes to the editing. So I actually decided to do two full CGI shots (landing of the object, rolling out of the object) and leave it with just two plates (object whirling in the air towards the protagonist, the protagonist placing the object on her shoulder) in order to have more freedom in the design and also to be closer to the device and get more exciting camera angles. Angles that were simply not possible during the shoot. I then focussed on the look of the axis barbell hybrid with Patrick and we discussed a possible look for the machine. The appearance of an ordinary barbell was not an option, as it would be too unspectacular and would not do justice to the scenery in the film. So the study of technical drawings of various vehicle axles and photographs of train axles helped me a lot. The latter motivated me to create a concept drawing. With this and a lot of feedback, Patrick was not long in coming. As a 3D generalist, Patrick also offered a complete animation of all the shots. A nice first result that already gave a good impression.

After careful scrutiny on the reference screen, we refined the result more and more:

• Details in motion: We let the object fall into the picture in the first 3D shot.
• Details on the texture: With a lot of effort, the axle was given a few traces of rust and patina.
• Details in the light: Based on the information from the filming report about the position of the sun, we positioned the light, especially in the full CGI shots, according to the surrounding settings in the edit.

The version history came in a simple and easy-to-use email with a download link. Particularly noteworthy is the last shot in the film and thus also the fifth and last 3D shot (the protagonist places the object on her shoulder), which already contained a complete rod during filming. This was then replaced 1:1 by an animated mask and then by the new 3D rod and its characteristics.

The “Challenge Yourself” claim shot was a very special treat. This was the shot that conveyed the statement. A plate was also originally shot for this: a flying shot that moves upwards from the ground. It quickly became apparent that this proved to be too inflexible for us. We therefore decided to create another full CGI shot with various backgrounds (concrete floors, sky, etc.). The result was a dynamic animation across the concrete square, past cracks in the ground and up into the air, before pausing in the supertotal on the “Challenge Yourself” typography applied to the ground. A truly three-dimensional way of thinking that brought this large construction site to an end.

As it turned out in post, the plate shot with a copter for our typoshot could have been saved. A full CG shot is often the better option for more flexibility and creative freedom. We then actually only used still images of the concrete floor, edited everything digitally and therefore didn’t use a single take of the copter shot. This would have given us more shooting time for other important shots.

A bit of magic

But what would the effort in 3D be worth if it weren’t for the compositing? The shots would only look half as good. Compositing brings the magic into play. I was able to win over the VFX studio BigHugFX for this, who took on the comp in particular. You would think that it was just a few shots with a small amount of work, but you’d be amazed at what an extensive endeavour it is.

Just tackling the subject goes far beyond “let’s make it a little more real”. I wrote almost two pages in advance to clearly describe what the CG shots still need to look more realistic. It is often characteristics such as lighting or shadows that are not yet ideal, but textures and backgrounds can also make the shots look too artificial, i.e. still too generated. This feedback is therefore very helpful for the artists and saves a lot of time and effort. The rule here is: the more precise and detailed, the better. Communication was very simple and effective via collective email via the in-house VFX coordination team. This meant that everyone involved was always aware of the current status.

Anything else that was needed could be delivered promptly, such as stills for floors and backgrounds or simply additional information such as camera focal lengths and apertures. The version uploads always included the entire final sequence along with the corresponding VFX shots. They were sent by e-mail as MP4 files in acceptable quality and could even be conveniently checked on a mobile phone while on the move. It was advisable to load them back into the edit and check them carefully against the current soundtrack. In this way, we achieved a nice result after just a few versions.

The renderings were delivered in passes and returned as DPX and TIFF single-frame sequences as well as in MOV film format. Masks were also added in single-frame format in order to have even better options for secondary colour correction during grading. This also lifted a huge weight off our shoulders, as we were now able to put an end to the long-term construction site of visual effects. It has also been shown that vague ideas only lead to blank plates and can only leave question marks. This requires a lot of planning and a clear vision in advance. All in all, it was a very nice collaboration with the BigHugFX crew.

Into the paint pot

After the long process of visual effects had finally been successfully completed, we moved on to the last and final step on the image, colour grading. This was carried out by colourist Andreas Brückl at Baselight, who is currently based in Mumbai (India). Due to the long distance, as the post-production took place in Germany, he was given an AAF upload instead of a hard drive with the required footage.

For the sake of simplicity, communication took place via remote grading with Baselight for Avid. This is a so-called non-live remote, in which you only have to update the Baselight project with BLG files sent via upload in order to receive work progress from the other party. This is an extremely facilitating workflow, as we were able to exchange information effectively and promptly even over long distances (Germany – India). Of course, this avoids many long render and upload/download times on long production routes, only to find out afterwards that you are still on the wrong track – which can prove to be very tedious, especially in colour grading.

Baselight for Avid works with the NLE and finishing systems Media Composer and Symphony. Extensive tools for colour correction and look design are available within the plug-in. In addition to the actual colour correction tools, some effects and filters are also on board. Simply drag the Baselight effect icon from the Effects palette in Media Composer onto the desired clips in the timeline and open the application via the Effect Editor. For the sake of simplicity, however, we decided to let the colourist work on the large Baselight, while Baselight for Avid was only used in Media Composer to view work progress and for rendering.

You simply open the BLG files via the Baselight for Avid application and update your Avid timeline, and you are already up to date with the grading from the large Baselight. Now you are ready to export your sequence to Media Composer. This can take a little longer than usual without first rendering the Baselight effects, but is also very dependent on the resolution and codec of the export formats.

Communication from a distance was definitely a drawback, as we were not directly on site with the grader. This made the workflow more difficult and slower overall. However, this was the only acceptable solution for us due to the long distance. It is also worth mentioning that everything technical, such as colour spaces, had to be checked in advance so that both sides could see the same thing. However, everything went smoothly with the non-live remote grading. Andreas sent the final Baselight gradings at the end, and I rendered them at home. In my experience, the best way is still to work with the colourist on location, if it’s possible to do so live during grading. Ideally, you should also work as a director with a DoP, because the three of you simply see more and can exchange ideas better. The interpersonal exchange on a subject as complex as colour should not be underestimated. Our perception of colour is also surprisingly different.

When it came to the look itself, we opted for a rather simple look in order to lend a certain authenticity to the rather fantastical events. We generally kept the colours in the cool range. Increased contrasts, modified saturation and brightness values so that the scenery doesn’t come across as too sweet. We were also able to apply some skin retouching in the grading (sunburn on the actress). All in all, a subtle look, but one that impressed us with its simplicity.

Toneless is only half as good

The sound atmosphere on set was nothing but noise. You simply wouldn’t have been able to get anything out of this aerodrome. We therefore decided to shoot completely without sound: a so-called MOS shoot (most common interpretation: Motion Only Shot). We even dispensed with sound-only shots. So everything sound-related was only solved in sound post-production via sound design and film music. But how do you approach such a project?

Editing without any sound at all is like playing a puzzle in the pitch black. That’s why I decided to always include a complete soundtrack consisting of library sounds and temp music in the editing process. A very tedious endeavour, but one that was very beneficial to finding the final cut. But it was also very helpful for everyone involved during further editing, as it was much easier to imagine the film in its respective cut versions and the many construction sites with this soundtrack.

Nevertheless, I wasn’t satisfied with that. As planned, the temp track was discarded and sound engineer Alexander Rubin took over both the final sound design and the sound mix. Composer Julian M. Michel was responsible for the film music. This decision enhanced the product enormously. Working with a composer who is able to respond individually to the needs of the project is worth its weight in gold. In principle, we exchanged ideas about the mood and atmosphere of the film through descriptions as well as musical examples. This is fundamentally important in order to recognise at the briefing how the director and composer feel musically about the theme and whether they are on the same wavelength. Insights that are highly recommended to every young director, especially when music is very much in charge of the sound. You need THE right composer for a very nice result. In terms of content, we combined classical music elements with electronic sounds to give the film event the necessary drama, but also to do justice to the coolness of our fitness heroine. In terms of workflow, we proceeded in a very simple way, in that I was able to put the respective update of the music into my edit as an MP3 via the server. The first layout already took a very good direction, which was thanks to our good communication and the result of an effective briefing. We worked our way from version to version.

During the music work, the sound design was created at the same time, so that we could already determine where we needed more of what, what should dominate at what point. A preliminary layout mix that Alexander Rubin had already created for us during the sound design phase was helpful. A final mix suitable for cinema in 5.1 and a stereo downmix rounded off the result perfectly. Our mix was created in Pro Tools. All in all, it was a creative exchange that I wouldn’t want to have missed.

In order not to be faced with too many question marks in post-production, especially with visual effects, it is advisable to plan these very well before shooting. Storyboards are certainly highly recommended, but extensive location scouting is also worthwhile. You should take a lot of time here and also take meaningful stills. If the budget is there, then previs are the icing on the cake. This is the only way to create the ideal conditions for producing breathtaking visual effects. Another point would be the early use of layout music directly from the composer in the rough cut phase. This way you don’t get bogged down with temp music and use the composer’s music from the start. The composer has not invested too much work and you already have enough material to work with in the right direction during editing. In the meantime, and especially after the picture lock, the actual work on the film music can continue.

Finished

The circle is complete. All the design elements are now together and form a new whole. A relieving feeling when you consider that you had to work on individual parts for a very long time. It’s easy to lose track of the overall product. But the patience has paid off for us. The result speaks for itself. All the components came together very well, both in terms of sound and image. Towards the end, I carried out a few final screenings in front of a selected test audience (both specialist and target audience). This resulted in only minor cosmetic changes and gave me the courage to finalise the project. The individual parts were then finally brought together again in Avid Media Composer. In other words, created in sequences with link clips in Avid as a MOV file for the image master and the individual WAV files for the sound master. All the desired exports could then be created from these. There was also a DCP mastering of the film.

The DCP-o-matic software was used for this. This also provided us with another important lesson: before creating a DCP, it is essential to obtain precise information about the delivery files from the cinema itself and then use this DCP master on a suitable hard drive to put the entire film through its paces in advance in the cinema. All unpleasant surprises were thus eliminated and nothing stood in the way of our team premiere at the Cinemaxx am Isartor in Munich.

And now?

Initially, my only goal was to make a nice project of my own on a topic that appeals to me personally, to produce a cool sports clip packed with interesting ideas. Something home-made! But over time, this sports clip turned into a major project with a high production value. This production value came about entirely thanks to an excellent and talented team. An exciting development, as you could slowly see for yourself how an initial idea turned into an impressive film project. Furthermore, it was pure luxury not to have a deadline breathing down our necks this time, with the chance of sufficient production time included. A fact that everyone was able to capitalise on. The result was so much fun that it almost cried out for a continuation of our work. Another sports film is already being planned, which will offer more story and even more levels of experience in a very special way: The Elements Walker. If you want to find out more about this young work, you can get an insight here. It remains exciting!