Dallas, TX, October 22, 2002-- The epic battle of good vs evil rages on in Joe vs. Cobra II. This 60-second full CG sequel brings feature animation to commercial production and, once again, pushes the envelope for children’s advertising. Reel FX Creative Studios held nothing back for the continuing saga as Cobra II features 10 characters, 4 Vehicles and 3 environments – all CG. Once again, Reel FX was able to produce an action packed, visually stunning spot built entirely around fantasy.
Early on, intense pre-visualization and art direction paved the way for creative mobility. Tracy Locke Partnership’s cutting edge approach to children’s advertising allowed Reel FX to push the creative limits. After presenting an aggressive storyline through frame accurate animatics, Reel FX created digital matte paintings and modeled new characters and vehicles.
For the first Joe vs. Cobra, Reel FX creatives were given the task of birthing the historically two-dimensional G.I. Joe characters into a three-dimensional world while maintaining the original magic of G.I. Joe. Since G.I. Joe is an American icon to many individuals, they immersed themselves in the property and fan base and developed a creative approach that was true to G.I. Joe. It was essential that Reel FX continued to stay true to the brand feel, which is why they opted, once again for a comic book feel rather than a photorealistic direction. For the sequel, Joe vs. Cobra II has the same fast paced edginess seen in the original Cobra, however, new characters and new tools make it even more compelling than the original.
As an Alpha and Beta test site for Discreet Logic, Reel FX was able to take advantage of several new breakthroughs in technology. Using Discreet Logic’s new versions of Inferno and Flame, Reel FX worked resolution independent on Joe vs. Cobra II. This allowed compositors to use standard resolution material and film resolution material in the same composite, thereby radically decreasing the amount of composite time. Also, Maya animation and camera moves were seamlessly brought into Inferno using a new file format called .fbx. This streamlined process allowed Reel FX to seamlessly match camera moves and perspectives with the digital matte paintings.
Reel FX also made use of higher Bit depth. Traditional composting uses 8-bit depth, which translates into 255 gradations of color. For Joe vs. Cobra II, Reel FX used 12-bit color thereby allowing 4096 gradations of color. This gave Reel FX greater color control, making it possible to treat the CG work like film and take it through a transfer process to massage the color, shadows, highlights and mid-tones.