Production: PROPER
Creative Director: Chapman Bullock
CG Lead/AD: Lars Snelders
Generalist: Tommy Jansen
Client: YETI
Director: Paulie Dery, Ginny Golden
Producer: Arlo Rosner
“Water in an animated spot like this is always a technical challenge. I find it extremely difficult to get fluid simulations to look really good, especially when you are going from this harsh desert landscape to a cool underwater scene. Our CG lead Lars is the best at these setups and nailed it.
The latest collab between Austin studio PROPER and outdoor gear maker YETI is an action-packed full-CG effort showcasing just how everything-proof and virtually indestructible the brand’s GoBox hard case really is.
“Since YETI is ‘Built for the Wild’, we pulled the environment inspiration from out West. As we travel through New Mexico, Colorado, and Wyoming, we also show a change in the seasons, capturing the product’s true versatility.
“Building out transitions from location to location and from season to season was tricky — without hard cuts, you’re simultaneously changing skies, terrains, and even a sense of temperature without the eye noticing.”
“Coming up with a way to move through all of these intense sequences seamlessly while also showing off the functionality of the product was definitely a challenge.
PROPER CD Chapman Bullock: “YETI wanted to pack a lot into this spot visually, and that took a good bit of game-planning early on. They basically wanted to show the GoBox falling down an avalanche, moving through the water, and crashing through ice, snow, and dirt in order to demonstrate this product is nearly indestructible.
Posted on Friday, February 3, 2023
“Building out transitions from location to location and also from season to season was tricky — without hard cuts, you’re simultaneously changing skies, terrains, and even a sense of temperature without the eye noticing. We played around with a bunch of different edits early on to figure out the best way to keep viewers present in the action.
Audio: Zelig Sound
“Sound Design is always one of the most subjective parts of a production. I brought Zelig on during the animatic phase so they had time to get the right composition, and they nailed an original track we all loved. I’m a huge fan of Zelig and I was stoked to have them involved.”
