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SOH-CM-2024
Frederic Planchon has directed British Airways new stunning campaign, a journey through the history of aviation reflecting on the courage and character of the aviators. The spot was produced by Helen Powlette at BBH and Simon Cooper at Academy Films.
MPC’s VFX team worked closely with Frederic Planchon and BBH to achieve a unique film that eulogizes BA pilots through the different eras, from the early days of bi-planes, to modern-day jet-engine travel.
MPC produced a CG fleet of planes - the early DH51 and 89 of the 20’s and 30’s, the DC3 and VC10 of the 50’s and 60’s, the 70’s Concorde, and the present-day Boeing 747. Reference taken from visits to Brooklands Museum and Duxford Airfield helped the team re-create every detail. Authentic livery was also created to match each era.
Multiple plates were combined for each shot - green screen elements, matte painting backgrounds, CG planes, livery, signage and sky replacements. Of obvious importance was ensuring that each scene faithfully reflected the corresponding era, so present-day elements were replaced by authentic ones. Simulator control panel footage was also used for the 747 cockpit scene.
The final two shots were created entirely in CG.
The spot was shot on 35 mm using anamorphic lenses. Jean-Clement Soret added the grade to finesse the look and feel of the different eras.
MPC’s VFX team worked closely with Frederic Planchon and BBH to achieve a unique film that eulogizes BA pilots through the different eras, from the early days of bi-planes, to modern-day jet-engine travel.
MPC produced a CG fleet of planes - the early DH51 and 89 of the 20’s and 30’s, the DC3 and VC10 of the 50’s and 60’s, the 70’s Concorde, and the present-day Boeing 747. Reference taken from visits to Brooklands Museum and Duxford Airfield helped the team re-create every detail. Authentic livery was also created to match each era.
Multiple plates were combined for each shot - green screen elements, matte painting backgrounds, CG planes, livery, signage and sky replacements. Of obvious importance was ensuring that each scene faithfully reflected the corresponding era, so present-day elements were replaced by authentic ones. Simulator control panel footage was also used for the 747 cockpit scene.
The final two shots were created entirely in CG.
The spot was shot on 35 mm using anamorphic lenses. Jean-Clement Soret added the grade to finesse the look and feel of the different eras.