Santa Monica creative studio Jamm worked with Wieden+Kennedy New York on the Fox Sports campaign “All Eyes on US.” Directed by Joseph Kahn out of Supply & Demand, the four spots celebrate the US Women’s soccer team as it gears up for the 2019 FIFA Women’s World Cup in June.
The newest 60-second spot All Eyes on US, features tens of thousands of screaming fans thanks to Jamm’s CG crowd work. On set, Jamm brainstormed with Kahn on how to achieve the immersive effect he was looking for. Much of the on-the-ground footage was shot using wide-angle lenses, which posed a unique set of challenges by revealing the entire environment as well as the close-up action. With pacing, Jamm achieved the sense of the game occurring in realtime, as the tempo of the camera keeps in step with the team moving the ball downfield.
The 30-second spot Goliath features the first CG crowd shot by the Jamm team, who successfully filled the soccer stadium with a roaring crowd. In Goliath, the entire US women’s soccer team runs toward the camera in slow motion. Captured locked off but digitally manipulated via a 3D camera to create a dolly zoom technique replicating real-life parallax, the altered perspective translates the unsettling feeling of being an opponent as the team literally runs straight into the camera.
On set, Jamm got an initial Lidar scan of the stadium as a base. From there, they used that scan along with reference photos taken on set to build a CG stadium that included accurate seating. They extended the stadium where there were gaps as well to make it a full 360 stadium. The stadium seating tools tie in with Jamm’s in-house crowd system (based on Side Effects Houdini) and allowed them to easily direct the performance of the crowd in every shot.
The Warrior focuses on Megan Rapinoe standing on the field in the rain, with a roaring crowd behind her. Whereas CG crowd simulation is typically captured with fast-moving cameras, the stadium crowd remains locked in the background of this sequence. Jamm implemented motion work and elements like confetti to make the large group of characters appear lively without detracting from Rapinoe in the foreground. Because the live-action scenes were shot in the rain, Jamm used water graphing to seamlessly blend the real-world footage and the CG crowd work.
The Finisher centers on Alex Morgan, who earned the nickname because “she’s the last thing they’ll see before it’s too late.” The team ran down the field at a slow motion pace, while the cameraman rigged with a steady cam sprinted backwards through the goal. Then the footage was sped up by 600%, providing a realtime quality, as Morgan kicks a perfect strike to the back of the net.
Jamm used Autodesk Flame for compositing the crowds and CG ball, camera projections to rebuild and clean up certain parts of the environment, refining the skies and adding in stadium branding. They also used Foundry Nuke and Houdini for 3D.
The edit was via FinalCut and editor Spencer Campbell. The color grade was by Technicolor’s Tom Poole.