Framestore: Private View - Vehicles

I know this supplement is a tribute to Framestore CFC, but a Private View is a Private View and I feel it's important to tell it how it is. Thunderbirds is Framestore CFC's first offering and sadly it's crap.

I can't believe that some 150 artists, technicians and production staff from Framestore CFC created 680 visual effects for this movie and didn't nail a single one. They created all the Thunderbirds, Lady P's flying car, the Mole and Hood's submarine. I didn't see a single wire throughout the whole film. None of the cast walked Tommy Cooper-style with their arms outstretched. No-one talked like those Doritos idents. And where were the Bunsen burner-like rockets on Thunderbird 3? The effects are spectacular, particularly the oil-rig rescue that opens the film. How did it all go so wrong?

Audi "bull" is next. Credit where credit is due - the animal trainer on this job was a miracle-worker. To get a bull to behave with the grace of a Lipizzaner stallion is amazing. Where Framestore CFC fits in to the process I'm not sure, but I do hope it's not one of those "I was in the room when it happened" situations. Perhaps it added the drool, which is considerable.

On to Chrysler. Ok, fair play - I can see where Framestore CFC worked its magic on this little puppy. In the ad, 101 tugs pull the Golden Gate bridge around until it resembles a particularly tricky section of the Nurburgring. The cars were shot separately in the Nevada desert and composited on to the bridge. Look closely and you'll even see reflections of the cables in the sides of the cars. More than 45 shots were created in nine weeks. This is more like it!

Troy is a triumph. Truly spectacular. The armada shot contains nearly 1,000 ships. The landing sequence itself contains 6,000 men and 40 ships.

As they disembark, Trojan archers fire salvos of digital arrows in a sort of 12th-century BC D-Day landings. In reality, only 600 extras were used and there was not a single real ship. So, as long as Brad Pitt's Greek accent is better than his Irish one, it should be a big hit.

Somebody's been on the wacky backy with the new Smart Car "kaleidoscope" ad. No denying there were a lot of buttons pressed and knobs tweaked to produce this stunning visual effect. It's made a Noddy Car rather cool and sexy.

It's a shame to end on a bit of a downer but that's the way the cards have fallen, I fear. The Audi A6 ad could have been amazing. However, every shot has a glaring fault contained within it. I know what it's like when you get too close to something and you can't see what's right in front of you. Also, the precise nature of each individual visual cock-up must have made it even harder to spot. I imagine Russell Ramsey must be kicking himself round about now.

THUNDERBIRDS

Production companies: Studio Canal, Tracy Films,Working Title Films,

Universal Director: Jonathan Frakes

Producer: Tim Bevan

Producer: Eric Fellner

Producer: Mark Huffan

Co-producer: Jo Burn

Film editing: Martin Walsh

Visual effects and post-production: Framestore CFC

AUDI 'BULL'

Client: Audi

Agency: Bartle Bogle Hegarty

Creatives: Al Welsh, Nick O'Bryan Tear

Director: Nicolai Fuglsig

Production company: Outsider

Visual effects and post-production: Framestore CFC

TROY

Production companies: Plan B Productions, Radiant Productions, Warner

Bros

Director: Wolfgang Peterson

Visual effects supervisor: Nick Davis

Visual effects producer: Nikki Penny

Visual effects producer: Alex Bicknell

Visual effects and post-production: Framestore CFC

SMART

Client: Smart (Mercedes)

Agency: Farm Communications

Creatives: Christian Bunyan, Owen Lee, Gary Robinson

Director: Simon Green

Production company: Large

Visual effects and post-production: Framestore CFC

CHRYSLER

Client: Chrysler

Agency: FCB Detroit

Art director: Robin Chrumka

Writer: Mike Stocker

Director: Danny Kleinman

Production company: Spectre

Visual effects and post-production: Framestore CFC

AUDI 'ILLUSIONS'

Client: Audi

Agency: Bartle Bogle Hegarty

Creatives: Dean Wei, Joseph Ernst

Director: Anthony Atanasio

Production company: Amarillo Films

Visual effects and post-production: Framestore CFC

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