MPC BRINGS VFX MAGIC AND GRADE TO MULIINO BIANCO’S NEW HAPPINESS CAMPAIGN, DIRECTED BY GABRIELE MAINETTI
We’ve partnered with Publicis Italy and actor and director Gabriele Mainetti to launch the leading brand of baked products in Italy, Mulino Bianco’s, new campaign that focuses on people and their personal pursuits of happiness. Especially in these moments marked by fears and uncertainties.
The spot features a child trying to find that special little thing that makes him happy. He observes what turns the trick for others – a girl classmate who twirls her hair, a man who rides his bicycle with his feet off the pedals, for example. The lad tries those things, but they just don’t work for him. Finally, by accident he finds his simple pleasure one rainy day. Little everyday pleasures in life–often taken for granted – can lift our spirits even when living in times marked by uncertainty and fear.
To help bring the spot to life our teams provided the invisible VFX, led by Andrew Curtis and grade by Jean-Clément Soret. The new campaign is a change in direction for Mulino Bianco, setting the tone for the future.
Andrew Curtis, 2D Supervisor, commented
“Working closely with Publicis Milan and BRW Milan in pre-production and on the shoot allowed me to get a greater understanding of what they were looking to achieve. When the UK went into lockdown, the team and I were able to seamlessly deliver invisible and creative VFX, meeting their outlined brief.
On developing the VFX, Jessie Amadio, 3D Supervisor, added:
“We had the task of translating the iconic Mulino logo into a fully three-dimensional, photo-realistic wheat mill. Our artist used a combination of traditional and procedural modelling to quickly iterate through various tile and stone patterns, before moving in to Substance Designer to develop complex organic textures with multi-layer surface detail. Our main challenge was situating the mill into the wheat field which was shot on location in Chile. We re-topologized the landscape considerably to integrate the stream using projection and digital matte painting. Final touches included bringing the stream and waterwheel to life with CG fluid simulations that created light-catching movement even at a large distance.”