Cartier's timeless beauty

Cartier – Tank

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Agency Publicis Luxe/Paris
Production Company Reset
Director Guy Ritchie

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Credits

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Agency Publicis Luxe/Paris
Production Company Reset
Director Guy Ritchie
Production Co. Soixante Quinze
Post Production Mikros Animation/Paris
VFX The Mill/Paris
Color Company 3/London
Music Prodigious Paris

Creative Alexandre Jean-Marie
Creative Gael Cornet Lombardo
Creative Amandine Ribeiro
Project Manager Sofia Silva Rodrigues
Creative Laurence Levy
Director of Client Services Iris Decoux
CEO/Producer Emmanuel Guiraud
Producer Annabelle Fournier

Post Producer Anne Segrettin
Editor Nicolas Larrouquere
Executive Producer Claire Garraud
VFX Producer Stephanie Mollet
CG Supervisor Mathias Barday
VFX Supervisor Stephane Pivron
Colorist Jean-Clement Soret
Music Clement Bonet

Creative Adrien Cussonneau
Creative Director Antoine Bonodot
Producer Christine Bouffort
Talent Catherine Deneuve
Talent Rami Malek

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Cartier's new film shows that even though times change, elegance, which is perfectly embodied by iconic French actress Catherine Deneuve, remains intact.

Created by Publicis Luxe and directed by Guy Ritchie via a co-production between Soixante Quinze and Reset, The Mill Paris was tasked with recreating Deneuve in eight shots at four different periods of her life, each inspired by her filmography. It was an important challenge because Deneuve evokes different memories and emotions in the filmgoing public, which has followed her through her career, soaking up her look, her acting, her facial expressions and her style.

The Mill team was present on the shoot and during the casting in order to find the best body double, with an acting style most resembling Deneuve. The production took inspiration from films including Les Parapluies de Cherbourg and Place Vendôme, and required the artists to combine new technologies like AI with traditional CG techniques. The film, called Tank, concludes with a shot of the real-life Deneuve.

"It was a huge challenge to work with such a great icon," said Stéphane Pivron, VFX Supervisor at The Mill. "About fifteen years ago, I worked on a Dior film where we remade the faces of Marilyn Monroe, Grace Kelly and Marlene Dietrich. From modelling to rendering we used a fully CG process at the time. [It was] convincing, but lacked a bit of life in the end. That's why, on this project, we turned to AI from the start. This technique has made a huge leap in a few years and, even if it has limitations, it offers a very lively result.

"The second challenge was that the sources we had access to were not necessarily in high definition and sometimes the image was very grainy. That's why we developed a specific pipe for this project, where the CG relies on the life generated by the AI to improve its quality, and to take over when it was no longer efficient. We were involved in the project from the very beginning, and we worked closely with the production in all the artistic choices, from the casting, to the adjustments of the wigs and the choice of make-up. We were able to test the faces in AI very early on, and to make sometimes complicated choices between physical resemblance and acting similarities. The perception of Catherine Deneuve is a mix of styling, lighting, acting and expressiveness: we had to find the right balance each time."