Oversized Normality

New Side Project from Visual Suspect & Worldgrapher

Everything started with a question, and in our case, we wondered what would happen if we began to place oversized objects everywhere?

Back in 2013, Hong Kong welcomed a new guest: an oversized yellow rubber duck. The scale of this artwork changed the perception of Victoria Harbour and made it look like a bathtub. In some way, an out-of-scale version of an ordinary, daily-life object had the power to attract the attention and eyes of all ages.


Visual Suspect’s Creative Lab

Concept Development

In the beginning, came the initial tests and while we first had replies to our question about ‘what if’, then we started to be confronted with a new series of dilemmas. Should we keep making objects only to be oversized? How big do these overscaled objects need to be? What is the story? How do we start and where do we end? Bit by bit, the direction became clearer, in the sense that we decided to create something that looks real and, at the same time, make people realize after a while that we insanely messed up proportions.

Filming Techniques.

Each clip is a composition made of two shots: a general view, together with a close-up on the overscaled object. Both clips, somehow, had their own specificities. During the filming of the wide shot, you need to envision the final aesthetic, guessing the effect of light, of the people in the area, ensuring there exists the available space to oversize the product, figuring the camera movements, and finally, imagining the visual impact on the audience. While shooting the close-up on the object to overscale, the challenge is quite different, as it is more about ensuring the camera movement and perspective of the subject, to match as close as possible, the general view scene.

The challenge? When we were outside filming, we simply didn’t know what the final result would look like. The next step was about drafting compositions that the visual artist would make to look like being real, with the first idea of proportions – we didn’t know precisely what would come until we saw the first version. Once this step was achieved, we were still not sure about the final result, as we had to wait for the 3D tracking, the rotoscoping, and so on.

"What I like in this film is that it all started with the question of “What if…”"

Yiannis Biliris

Photorealistic Visual Effects 

An essential objective, from the technical point of view, was to have visual effects looking realistic, even with objects at 1,000:1 scale. This means that the production team had to use real images shot on location, compositing everything after during post-production. Clips with camera movements have been tracked, some objects have been removed, shadows have been generated, and several people together with passing cars have been rotoscoped.

Color Direction

Colorful and inspired by fairy tales, the color grade is a mix of something realistic, with an additional layer of a vivid fantasy. Therefore we brought together intense red hues together with cold tones.


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