Giving a decade-long very successful campaign a bit of a goose presents unique challenges, including maintaining tone and creative continuity while bringing a fresh perspective. To help with the launch of the new 2018 Ford F-150, Big Block director Paul Trillo brought all of his tools to the table, offering an innovative spin to the campaign.
Big Block worked closely with agency GTB, from development to previz, live-action, design, editorial, all the way through color and finish.
Trillo wanted to maintain the tone and voice of the original campaign while adding a distinct technical style and energy. Dynamic camera movement and quick editing helped bring new vitality to the “Built Ford Tough” concept.
Technically challenging camera moves help guide the audience through distinct moments. While previous spots relied largely on motion graphics, Trillo’s used custom camera rigs on real locations.
Typography remained a core of the spots, all underscored by an array of stop-motion, hyperlapse, dolly zooms, drone footage, camera flips, motion control and match frames.
We reached out to Big Block’s Paul and VFX supervisor John Cherniack to find out more…
How early did Big Block get involved in this F-150 campaign?
We worked with Detroit agency GTB starting in May 2017.
How much creative input did you have on the campaign? In terms of both original concept and execution?
Trillo: What was so original about this pitch was that they gave us a blank canvas and VO script to work with, and that’s it. I was building off a campaign that had been running for nearly 10 years and I knew what the creatives were looking for in terms of some sort of kinetic, constantly transitioning energy. However, it was essentially up to me to design each moment of the spot and how we get from A to B to C.
Typically, car commercials can be pretty prescriptive and sensitive to how the car is depicted. This campaign functions a lot differently than your typical car commercial. There was a laundry list of techniques, concepts, tricks and toys I’ve wanted to implement, so we seized the opportunity to throw the kitchen sink at this. Then, by breaking down the script and pairing it with the different tricks I wanted to try out, I sort of formed the piece. It was through the development of the scripts, boards and animatics that certain ideas fell to the wayside and the best rose to the top.
Cherniack: Paul had some great ideas from the very beginning, and the whole team got to help contribute to the brainstorming. We took the best ideas and started to put them all together in a previz to see which ones would stitch together seamlessly.
Paul, Justin Trask (production designer) and I all spent a very long together going through each board and shot, determining which elements we could build, and what we would make in CG. As much as we wanted to build a giant gantry to raise the bar, some elements were cost-prohibitive. This is where we were able to get creative on what we would be able to achieve between practical and CG elements.
How much creative input did you have on set?
Trillo: The only creative decisions we were let to make on set were coming up with creative solutions for logistical challenges. We’d done all the pre-production work, mapping out the camera moves and transitions down to the frame, so the heavy lifting was finished. Of course, you always look to make it better on set and find the right energy in the moment, but that’s all icing.
Cherniack: By the time we started shooting, we had gone through a good amount of planning, and I had a good feeling about everything that Paul was trying to achieve. One area that we both worked together on set was to get the most creative shot, while also maintaining our plans for combining the shots in post.
What challenges did you face?
Trillo: I think I have a sort of addictive personality when it comes to logistical and creative challenges. Before this thing was fully locked in, before we had any storyboards or a single location, I knew what I had written out was going to be super challenging if not impossible. Especially because I wanted to shot as much as we could practically. However, what you write down on a piece of paper and what you animate in a 3D environment doesn’t always align with the physics of the real world. Each shot provided its own unique challenge, whether it’s an art department build or deciding which type of camera rig to use to move the camera in an unusual way. Fortunately, I had a top-notch crew both in camera (DP Dan Mindel) and production design (Justin Trask) that there were always a couple ways to solve each problem.
Cherniack: In order to have all of the measurements, HDRI, set surveys and reference photography, I had to always be on the move, while being close enough should any VFX questions come up. Doing this in 110+ degree heat, in the quarry, during three of the hottest days of the summer was quite a challenge. We also had very little control of lake currents, and had to modify the way we shot the boat scene in Brainiac on the fly. We had a great crew who was able to change directions quickly.
What was your favorite part of working on this campaign? What aspect are you most proud of?
Trillo: It was pretty spectacular to see each of these pieces evolve from chicken scratch into a fully-realized image. There was little creative compromise in that entire process. But I have to say I think I’m proudest of dropping 400lbs of french fries out of a shipping container.
Any major differences between automotive campaigns and ads for other industries?
The main difference is there aren’t any rules here. The only thing you need to keep in mind when doing this campaign is stay true to the F-150’s brand and ethos. As long as you remain true to the spirit, there are no other guidelines to follow in terms of how a car commercial needs to function. What appeals to me about this campaign is it combines a few of my interests of design, technical camera work and a dash of humor.
What tools did you use?
Cherniack: We used the software Maya, 3ds Max, Nuke, Flame, PFTrack for post-production.