Call of Duty: Black Ops 3, Seize Glory

  • Agency 72andSunny;
  • Production Company Hungry Man;
  • Director Wayne McClammy;

“Seize Glory” Exalts COD: Black Ops 3 from Activision Blizzard, 72andSunny and MPC LA

Hungry man’s Wayne McClammy directed 72andSunny’s live-action trailer “Seize Glory” for Activision’s new release, Call of Duty: Black Ops 3. It is an action-packed story capturing the adrenaline and heart-pumping thrills of the game. Academy Award and BAFTA-winning cinematographer Dion Beebe (Memoirs of a Geisha, Edge of Tomorrow, Collateral) and a star-studded cast of Hollywood actors round out the piece.

The story follows a next level gamer named Kevin, an unlikely looking hero, traversing different war-torn levels like the ultimate bad ass. Michael B. Jordan plays the hype-man/narrator as Kevin takes out soldiers, robot enemies, flesh-eating Zombies, tanks, planes and buildings. There is a nod to the definitive “There’s A Soldier In All Of Us” spot in an orchestral finale of fire, explosions and a dramatic cameo.

The collaboration with McClammy and MPC is the latest in a series that take memorable performances and mesmerizing visuals to the next level. “We are getting the balance right allowing the VFX to support the story and reinforce the realities rather then relying on them too much,” said MPC Creative Director Paul O’Shea. “We wanted something immersive, visceral and believable, without a lingering feeling that things were digital.”

MPC Colorist Ricky Gausis graded “Seize Glory,” working closely with Beebe to balance the looks of an array of different scenes that ranged from exterior cityscapes and an interior biodome, to a Middle Eastern barbershop and stormy finale in a jungle.

Ricky reconciled different creative visions and came up with something well balanced that keeps you focused on the story rather than being too aware of the style,” O’Shea said. “You don’t feel all the work he’s done and the end result looks iconic.”

Gausis added, “The main challenge was in making each location feel different without the grade distracting the viewer in any way. With the numerous explosions throughout I had to be very careful to keep the highlights relatively soft so as to not lose detail in certain areas. I also paid close attention to the shadows to retain detail in them."

“With having softer shadows and highlights it's very easy to have a flat and lifeless image, so I worked a lot in the mid tones to give the image richness.”

Click VFX tab above for more details. 

MPC’s global network was crucial to meeting a demanding schedule, O’Shea explained. Between Bangalore, London and Los Angeles, the studio was operational 24/7. The scope of work entailed everything from creating zombies, photoreal water simulations and fully CG robots choreographed using actors on a rainy set with moving cameras. Tasks included hard surface modeling and work with in-game assets, matte painting, compositing from MPC’s film library of practical elements then creating specific CG pyrotechnic FX and embedding those into a very practical base.

“On set we’ve taken things to the next level with the speed and efficiency we gather survey and location data,” O’Shea said. “Our VFX Supervisor Zach Tucker brought a lot of feature film experience to the shoot, along with a passion for new technology and developing what the on-set post opportunity can be. We aim to make the smallest footprint possible for production, but generate fast, thorough focused data for post.

“By the time we received an edit, using image-based modeling techniques and proprietary databases we’d recreated environments and built out lighting scenes,” O’Shea continued, “when the plates were cleared to go online, CG renders were ready to drop in. That efficiency and planning is MPC using new tech to its best affect to allow more time to refine, develop and polish the back end of the job.”

VFX Supervisor Zach Tucker said, “Every opportunity was taken to develop the look and behavior of our characters and effects, along with the layout of our environments, during pre-production as well. Gathering data from the location and tech scouts allowed us to do previs in digital versions of the real locations, knowing that lenses, camera placement and compositions were legit.  We were building war-torn environments, animating deadly robots and blowing things up before the cameras were rolling.”

O’Shea concluded: “The goal with the live-action ‘Seize Glory’ trailer was to strike a balance between practical and digital, bridging the gap between the audience experience of playing the Black Ops 3 game, and the game as a real experience. These spots are intense, the expectation is huge and it’s really satisfying to deliver pictures everyone involved with is proud of."

Credits

  • Agency 72andSunny
  • Production Company Hungry Man
  • Director Wayne McClammy
  • AD Alex Gayner
  • DP/Cameraman Dion Beebe
  • Agency Chief Creative Officer Glenn Cole
  • Agency Group Creative Director Frank Hahn
  • Agency Creative Director/Designer Rey Andrade
  • Creative Director/Writer Josh Fell
  • Agency Lead Designer Warren Frost
  • Agency Lead Writer JC Abbruzzi
  • Agency Chief Production Officer Tom Dunlap
  • Agency Director of Film Production Sam Baerwald
  • Agency Executive Film Producer Dan Ruth
  • Agency Senior Film Producer Stanton Hill
  • Agency Production Coordinator Paige Bryant
  • Agency Group Brand Director Mike Parseghian
  • Agency Brand Director Simon Hall
  • Agency Brand Manager Brett Schneider
  • Agency Brand Coordinator William Nader
  • Agency Director of Business Affairs Michelle McKinney
  • Agency Business Affairs Director Alex Lebosq
  • Agency Affairs Manager Kelly Ventrelli
  • Agency Business Affairs Coordinator Ashley Pesses
  • Agency Chief Strategy Officer Matt Jarvis
  • Agency Co-Head of Strategy Bryan Smith
  • Agency Group Strategy Director John Graham
  • Agency Senior Strategist Daniel Teng
  • Production Company Executive Producer Mino Jarjoura
  • Production Company Producer Laurie Boccaccio
  • VFX MPC LA
  • VFX Creative Director Paul O'Shea
  • VFX Supervisors Zach Tucker & Benoit Mannequin
  • VFX Head of Animation Stew Burris
  • VFX Executive Producer Elexis Stearn
  • VFX Producers Whitney Gearin, Tomek Zietkiewicz, Anuja Divakaran
  • VFX Production Coordinator Valentina Cokonis
  • VFX Team Gizmo Rivera, Benji Davidson, Dave Stern, Marty Taylor, Chris Moore, Vincent Blin, Oliver Caiden, Gustavo Bellon, Sean Cox, Dave Damant, James Stellar, Dylan Brown, Roger Kupelian, Niall Booker, Maxx Burman, Daniel Xiao, Kino Scialabba, Emily Gerich, Ian Wilson, Moses Hood, John Velazquez, Joshua Cordes, Andrew Price, George Saavedra, Charles Trippe, Nate Usiak, Patrick Manning, Hermes Crespo, Ali Rizvi, Brian Broussard, Jessica Groom, Asher Stusek, Aaron Hamman, Joel Durham, Hayley Chen-O'Neill, Benjamin Rosado, Justice Joseph, Diego Melgar, Mark Krentz, Matthew Burns, Michael Lori, Tim Donlevy, Tim Kafka, Brendon Echsner, Clement Renaudin, Matthew Bell, Mike Daizell, Yuichiro Yamashita, Jaemin Lee, Hugo Saunders, Jorundur Rafn Arnarson, Caroline Pires, Andreu Lucio Archs, Gayatri K Patel, Bakiyaraj P, Gowri Shankar Velusamy D, Partha Modal, Radhakrishna Rethinasamy, Sachin Sureshrao Dhapudkar, Swarup Kumar Panigrahi, Usama Jameel, D. Venkatesan, Dheeraj Hebbar, Earnest Victor, Elangovan Ganeshan, Ganesh Kumar S, Jacob T. Oommen, Manoj Ravi, Prashanth Parasivam, Ranajoy Kar, Gayatri Patel, Abhinandan Madhu, Ajai V John, Akhil Gokul, Akshay Sunil Wadwalkar, Anbarasu E, Ashish Saini, Bibin Balan P, Jojo Sunny, Jyoti Prakash Panda, Kumar SVGS, Kunal Sarkar, Manjunath Ramakrishnaiah, Pratik Choudhury, Shivenda Rajput, Sourodeep Dey, Sumesh Chammancheri, Vijaya Jothi, Vittal Kuntla, Inigo Vimal Roy, Priya Bandodkar, Raju Ganesh S, S Rajesh, Abdul Labeeb, Alex J, Amresh Kumar, Bruno Roosewelt, Jaswan Vishnu Prasath, K. Gandhiraj, Lokanath Sahu, M D Karthikeyan, Mithilesh G, Mohan Pugaz, Pankaj Choudhary, Prashanth Palaparthi, S. Samson Samuel, Shaik Abdul Adil, Shalwin Shaiju, Shashi Kant Kamal, Sravan Kumar & Vishal Digambar Mule
  • Grade MPC LA
  • Color Executive Producer Meghan Lang
  • Colorist Ricky Gausis
  • Editorial Work Editorial
  • Editor Jono Griffith
  • Editorial Executive Producer Marlo Baird
  • Editorial Producer Barbara Healey

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