5/27/2023 0 Comments Microsoft maquetteNew Deal also worked with similar techniques in The Dark Knight and The Dark Knight Rises. Gratzner says that Martin Scorsese chose his team so that he could shoot all the plane crashes in The Aviator, as well as all the exteriors of Hollywood Boulevard, in miniature with the same depth of field as the regular production. That meant shooting with much longer depth of field. For years prior, he and the team at New Deal Studios had worked on miniatures for major films like The Aviator, putting in time and effort to make their miniatures work blend in with live-action cinematography. The depth of field was intentionally very shallow, calling attention to the relatively small scale of the final product. Unfortunately, Gratzner says that he was never truly happy with how the final shoot of the “Believe” commercial turned out. The can of Coca Cola was used for scale as the photo was taken before the widespread adoption of the banana. The video documentary was even created alongside to capture that process, cleverly baked into the fiction of the Halo universe itself as an extension of the “Believe” campaign.Ī mock-up of a cauliflower explosion. He says the final diorama measured roughly 40 by 20 feet. They were sure, and so he spent the better part of a month building out the landscape - including ruined buildings, vehicles, explosions, and more. “Are you sure you want to do it this way?” Gratzner remembers asking. When representatives from 215 McCann and Microsoft came by to view the maquette, they were stunned by its potential size. “And that whole thing was maybe three feet by maybe a foot and a half.” Perched next to that mock-up was a cardboard cutout of a human being, roughly the same size as one of the McFarlane Toys’ figurines. “We built a foam maquette, a small sculpted version that was a scale version of the scale model,” Gratzner said. A director, Rupert Sanders (who would later go on to direct Ghost in the Shell with Scarlett Johansson), was already lined up, and casting had already begun for the various actors.īehind the scenes still images of the Halo 3: Believe diorama Gratzner says that Stan Winston Studios, now known as Legacy Effects, had already started working on the detailed human and alien figures that would be required. 215 McCann and Microsoft had already worked out a rough digital concept of what the final diorama might look like. “I think it was four weeks to do everything,” said Matthew Gratzner, one of the partners at New Deal Studios, the special effects house that ended up assembling the final diorama. Incidentally, that’s also where things started to get a little bit out of hand. The crucial step was finding a team of model makers that could help to bring that vision to life. We have to all kind of lock hands on this, and if we do then we will make everyone else believe that this is how important gaming is.” “If we believe it to be so true, and we never blink in the marketing,” Duchon said, “then that’s how we have to approach everything. “Believe” was more than just the tagline: It was the entire concept itself. Supporting that physical prop would be actors portraying the veterans who fought on Halo 3’s fictional front lines. They would make a museum-quality miniature display, depicting a fictional battle scene from the Halo universe, and use it as the fulcrum for a whole series of ads. The solution, Duchon said, was to wrap the Halo 3 marketing campaign itself into the fiction of the universe that the team at Bungie had already created. I want in on this, because this is a story and something that I could get excited by.’” I don’t care if I’ve never played 1 or 2 before. “Then the new, broader audience coming into gaming would go, ‘I want in on this. “Our goal was to do something that the core would respect and they would love because they’d been on the journey ,” Duchon continued. We wanted to figure out, ‘How do we expand the universe?’” With Halo 3, we were building off the success of Halo 1 and Halo 2, and there was this hype of how big gaming was getting and how much of the fandom already existed for Halo. “No one had ever played it before, so we were setting the stage with that ad. “We had just had some success with the Mad World ad for Gears of War,” Duchon recalls, name-dropping another of video gaming’s most memorable ads of all time. As the creative director of the “Believe” campaign, he was involved in some of the original pitches that landed the deal. The story starts with Scott Duchon, now chief creative officer at San Francisco-based advertising agency 215 McCann.
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