Eye Conquer: Andy Glass on How CGI Retains Flexibility and Control for Pharmaceutical Clients

Managing client and agency expectations is a big part of a photographer’s job. Always wanting to deliver on what the creative’s goals are, sometimes it’s necessary to direct the client in one direction or another. When CGI is introduced, it is even more critical that the photographer and CGI director can vocalize strategy and conceptually deliver so the client feels confident in the direction. 

Andy Glass is a pro at managing these expectations. On a pharmaceutical shoot for eye drops, the initial creative call envisioned television and computer monitors stacked in such a way that an eye, with a detailed iris, formed and imposed it’s larger-than-life size on a potential patient. The client wanted to do it all for real, in camera, creating a set that could fit large monitors. However, with his experience, Andy suggested using CGI, in partnership with POP Creative Studio, in an effort to retain flexibility and control over the environment. The final result is a striking visual that exceeded the client’s expectations through detailed pre-visualization and expert use of CGI. We spoke with Andy to learn more. 

Can you describe the initial creative vision that was presented for this project?

The client approached us with a concept for eye drops designed for tired, digital eyes—essentially, eyes strained from prolonged screen time. They wanted to create a conceptual visual representation using various screens to form a human eye. This involved arranging TVs, laptop monitors, iPads, and phones to craft this image. Initially, they requested the concept be done for real, in camera. After thinking that through a bit, I decided to collaborate with POP and create a treatment suggesting the use of CGI.

We jumped into the pre-visualization process and through our treatment, we could show the agency our early thoughts and how we were tackling some creative challenges. The technical and logistical hurdles, such as the sheer number of screens and the space required, made it clear that a CG route was the better option. And our treatment was detailed enough to convince them of that.

What were some specific challenges of doing this project in CG?

The biggest challenge was designing and building the screen sculpture to take on the appearance of an eye. To do this, we had to ensure the monitors were arranged in such a way to create a convincing eye shape when viewed from the camera's perspective. This involved meticulous planning and testing to get the lighting and reflections just right. We had to consider how the light from the screens would reflect off the floor and onto the person, which was crucial for achieving a realistic look.

What did the set look like given that much of the project was CGI?

On set, we use overlays on the camera monitors to match the previsualization concepts exactly, ensuring that the camera height, lens, and angles are perfect. This approach allows us to focus on performance and lighting without worrying about framing and composition. For this shoot, we used gray backgrounds instead of green screens, which helps with better hair and edge details. We also used gelled lights to replicate the colors and lighting effects from the iris.

How do you decide between using real elements and CGI in such projects?

This really is the main role of a CGI director, and my experience helps inform these decisions and to know when to make the suggestion to use CG or not. It often depends on several factors including budget, timing, and the client's decision-making style. CG offers flexibility and control, especially for global campaigns where feedback from different regions can lead to changes. However, some art directors prefer real elements for their authenticity and the unique, unpredictable qualities they bring. Ultimately, it’s about finding the right balance and understanding the project's specific needs.

How does incorporating motion into CGI lighting affect the project?

Incorporating motion into CGI lighting is significantly easier as it allows for dynamic lighting effects that can reflect and interact realistically with all elements in the scene. For instance, in this project, we could simulate the glare and reflections from the screens much more effectively in CG than if we had to manage it all in post-production with real elements.

Was there any resistance to using CGI, especially given the preference for authenticity in pharma advertising?

There can be some resistance, as real elements often feel more authentic. However, CG allows for greater control and flexibility, which is crucial for complex projects or when the client has a history of making frequent changes. By providing detailed previsualization and involving the client and agency throughout the process, we were able to instill confidence in the client from an early stage, which meant no surprises when we presented the final work. This makes everyone happy!