Plasma Perfection: Engineering A Frothy 3D Social Ad

I was referred to Varnish Studio to create a set of stylized 3D social ads (both animated and still renders), for one of their clients, Roadhouse Brewery. My task? To engineer a groundbreaking 3D experience for Roadhouse's new IPA beverage, 'PLASMA'. From conception to final output, I was responsible for developing a set of cosmic 3D wonders to entice viewers, captivate casual Instagram browsers, and 'wow' others in the industy, all in one high-impact, seamlessly engineered visual encounter. The visuals were to depict the product itself, but firmly avoid rooting it in any tangible plane of mundanity. I was up to the task.

Selecting my toolset and methods for this endeavor was perhaps the most important step. I needed the flexibility, technical robustness, and versatility in my pipeline to allow for a very unique design. I decided to construct a procedural geometry framework using Blender's Geometry Nodes. I was provided with a Adobe Illustrator file containing the PLASMA IPA label design. Based on briefs I had received, I decided that this IPA would need to exist in a cosmic, almost mystical space. I exported the Illustrator proofs as SVGs, imported the linework into Blender, and got to work sorting the curves into collections of shapes. The label was complex-- many hundreds of individual strokes made up the whole. In order to make the shapes and curves float independently of each other, I needed to painstakingly sort them into collections, and then 'repair' certain strokes so that even those hidden behind others from the 2D perspective of the label had a continuity to them. Think of it like this: suppose you're drawing a person in front of a house. You wouldn't draw the parts of the house behind the person, would you? Likewise, the linework in the label didn't perfectly translate into 3D geometry, since shapes were implied to be in front or behind each other.

After repairing and extending the shapes, I developed a set of procedural materials for the many curve objects. I applied a variety of modifiers on a case-by-case basis to add depth to the pieces, and used normal data to create procedural effects, such as neon-ish edge lighting, and a 'frosted glass' look. I treated the geometry and materials as though they were stained glass, floating in an abyss. Next, I developed a geometry node network which took each collection of curves and bent them to the shape of the can, while also introducing subtle motion and noise. I also developed some drivers to globally switch remeshing on and off, so that I could remesh complex meshes to improve topological quality, but also turn this feature off for faster viewport performance. I added auxiliary systems for additional effects, such as floating stars, orbiting peripheral linework, and more.

After developing a geometry node system which utilized the various curve collections to create a seamless 3D tableau, it was time to think up some animations for the product. I settled on several closeup and atmoshperic camera moves, allowing the cosmic 3D spectacle to speak for itself, while accented with some physicality (such as the can's tab being pulled, for which I whipped up a quick particle simulation). I utilized a depth pass and exported camera animation data to create a composite in After Effects. Using 3D layers and depth-based luma mattes, I created a sort of "infinity" effect inside of the negative space of the can labels, in which you can see the infinite void of space (and some procedural starscapes!) I did this by placing a 3D layer significantly further away in 3D space than the can, and then utilized the masking to paradoxicallly display it inside the void. I also utilized Blender's built in compositor to cleverly "hack" these beauty shots-- using individual render passes such as ambient occlusion, diffuse color, glossy direct and indirect passes, I created a crisp, out-of-the-box beauty pass that sped up my post-production workflow. Several After Effects expressions helped me place special effects and lighting touches.

All in all, this project proved to be a resounding success. Several animations and still renders were delivered to Varnish Studio and shared with the end client. In addition, the development of a procedural geometry workflow leaves a reusable framework for utilizing 2D vector artwork inside of 3D settings. According to creative direction I received, the animation was to have a self-referrential design language. Cosmis elements, movement, and brand identity were to flow from the vector designs themselves, and the 3D extension of these elements were to be practical conclusions of the 2D designs. I believe I accomplished this, and more. The social posts garnered attention from Roadhouse's follower base, and a new side of this fresh IPA was uncovered!