Banter offers a range of services, including this world-class technology, CGI Advertising. In a world where reality bends at the whims of technology, we embarked on a journey to create the Guinness World Record's largest Vanilla Slice with our friends at multi-award-winng Gumnut Patisserie. Utilising advanced techniques in computer-generated imagery (CGI), we sought to create a visually stunning spectacle that would captivate audiences and elevate brand awareness. Originally toying with the idea of an interactive Vanilla Slice utilising Augmented Reality (AR), we opted for a completely rendered approach over real-time interaction which ensured the highest quality in our final output. This allowed us to create an accurate and believable recreation of the slice as an April Fool’s Day joke.
Camera placements while taking photos for photogrammetry
With technology's rapid strides, we embraced the technique of photogrammetry to recreate our slice in the digital environment. Photogrammetry is the process of creating precise 3D models of objects or environments from a collection of overlapping photographs. By analysing the properties of these images and the line of sight of the camera, photogrammetry software can mathematically reconstruct the positions of points on the object's surface, allowing for the creation of its 3D structure. We chose photogrammetry over traditional 3D modelling for this project, so the final piece was realistic, efficient, and believable as possible. The Vanilla Slice is also the perfect subject for photogrammetry as there are no transparent or moving pieces. We took approximately 300 photos of our Vanilla Slice from every angle possible to create its 3D counterpart.
Removing roughness from the icing to create a reflective surface
We strategically incorporated familiar objects, such as pallets and a ladder positioned adjacent to the slice, to provide viewers with tangible references for size comparison. These elements served as visual cues, effectively selling the illusion of the larger-than-life slice. However, photogrammetry does come with certain limitations. While this technique excelled in capturing the essence of our subject, it lacked critical information regarding surface properties and lighting dynamics. To address this, we added additional details utilising 3D painting software. This included adjusting roughness levels to simulate varying textures across the slice's surface, from the smooth icing to the rugged base.
Showing the difference of adding subsurface scattering and environmental reflective helpers
Furthermore, we integrated micro-detail and subsurface scattering techniques to give the model translucency (like how light penetrates the wax of a lit candle), ensuring a faithful representation of light interaction. We also needed to fix inconsistent lighting and shadow information added to the model during the photogrammetry process. Painting out shadow and lighting information will ensure the overall composition of 3D objects and real-life footage is cohesive and accurate.
Storyboarding served as a foundational tool, facilitating the capture of required footage while providing visual guidance regarding the placement and scale of our colossal Vanilla Slice. Recording environmental factors such as the sun’s position and how cloudy the sky was, allowed us to recreate the atmospheric conditions in the digital environment (a bright sunny day is going to produce darker, sharper shadows than a cloudy overcast day which would be more diffused and subtle). Every surface possesses unique reflective properties influenced by its surroundings; we took several photos in a panorama-style to capture our real-life environment. This enabled us to generate a HDRI map from the photos, which produces accurate lighting and reflections based on the information within the map. This makes for a more seamless integration of digital and live-action elements. You may have seen a movie that noticeably has used green screen to superimpose an element onto footage - this usually looks unrealistic because the green screen footage has been filmed in a completely different lighting environment to the footage it’s superimposed on.
Tracked footage showing markers on the grass
With the footage in hand, it was time to begin camera tracking, an essential step in establishing the virtual camera's position within the 3D space. An important aspect of successful camera tracking is the presence of parallax within the footage, enabling the software to discern shifts in perspective (for example, If you stand in one position and rotate your head left to right while looking at an object in front of you, you’ll notice there is little-to-no parallax, whilst if you strafe side to side, the parallax effect will be prominent). Using an object - in our case, a cardboard box - in lieu of the slice, aided in enhancing the tracking accuracy. This process was largely automated for our shot, requiring minimal adjustments. Once the tracking process was complete, markers affixed to key points within the footage can be used as reference points, whilst a 3D camera is also created. Utilising these markers, particularly those situated on the ground, facilitated the creation of a 3D floor plane, laying the foundation for our scene placement.
With our footage tracked, it was now time to assemble our scene and fine-tune the lighting in preparation for rendering. The real-life footage consisted of simple lighting, which was the sun, so in the 3D environment we replicated this by adding one light source to simulate the sun's illumination. Positioning the light to align with the cast shadows in the footage ensured a seamless integration of our CGI elements. To further integrate the slice into our footage, a transparent plane was used as the floor to catch shadows. Additionally, we placed a 3D tree off-camera to cast shadows over the slice, further enhancing the cohesion between the digital and live-action elements.
Examples of different render passes
It was now time to render the digital recreation. The scene was rendered in several passes, each capturing specific elements of the scene (for example, a shadow pass, lighting pass, colour pass etc). This approach allowed greater control and flexibility during the compositing stage, allowing us to manipulate individual elements with ease. After the lengthy rendering process, we were ready for the final stage of the project – compositing!
Rotoscoping the fence
The process of compositing involves merging the various elements to create a seamless final product. Through colour correction and adjustments, as well as rotoscoping the fence frame-by-frame, we ensure precise placement and interaction of each component. Utilising the rendered passes allows for fine-tuning of individual elements, such as controlling matte shadows to harmonize with existing footage. Ultimately, compositing ensures a cohesive and polished visual output.
Check out the video the full video on our Instagram!
Did our prank make your mouth water? Don’t forget to indulge in the award-winning Vanilla slice from Gumnut Patisserie. It clinched the Royal Easter Show President’s Medal and earned the title of Champion Vanilla Slice in 2021. Additionally, it was voted the Wotif Best Vanilla Slice in the same year!
If we fooled you with our stunt and want to know more, let’s Banter about creating outstanding graphic effects for your business!
