Richard Rosenman comments that, although the style of the background is flat, the way that the characters snap at and pursue the vehicle meant that simply animating them in 2D alone was not an option.

“Because we wanted the spot’s elements to play interactively with each other with regards to raytraced reflections, refractions, global illumination lighting solutions and object collisions, it was important to create all elements first in 3D.

The toon-rendering treatment would be applied afterwards, during render time, and further tweaked during the composite,” he says. Rosenman is full of praise for VRay Toon.

“It provides stunning line quality, unparalleled with most renderers. It’s also simple to use and yields fast, interactive results. Despite being a post-render process, true 3D motion blur and similar effects are taken into consideration by VRay Toon,” he says.

“It also allows for world spatial line thickness. That is, objects closer to the camera receive a thicker line and vice versa. This was particularly important since line thickness is an important way to establish depth using graphic elements.”

Despite VRay Toon’s sophistication, the team resisted the temptation to make the characters look too complex. Rosenman says: “The texturing of the Toon elements had to remain simple, striking and illustrative, while still maintaining a 2D feel. Because these are all 3D objects, consideration had to be taken on the texure mapping techniques, which dictate what should be seen not only from our front view, but also from the back and side views of the characters.

"Textures were created with minimal amounts of detail and colour in order to contrast with the fully shaded vehicle and allow it to stand out.”

“We always wanted the car to really pop, so having the car 3D and the rest of it toon shaded really helped that,” says Cann. The car was modelled in Silo and 3DS Max.

“The combination of these two provided updated toolsets that allowed for efficient, accurate modelling,” says Ulisko. “After Effects was beneficial in creating a palette that allowed the car to pop,” adds Cann.

3DS Max was used to add motion and a fizzy, cartoon feel. Abdul Ali Mohamud, one of Hatch’s 3D artists, says: “I used 3DS Max Particle Flow to animate the particle explosion. Each particle was given an oversized sphere as a render object.

"This, combined with toon shading, gave the puffy cloud look. Afterwards, we used After Effects for the glow effect and colour correction.”