Adidas 2014 FIFA World Cup™ Battle Pack ‘All in or Nothing’

Adidas’ ‘all in or nothing’ campaign introduced the Battle Pack, the brand’s boot collection for the 2014 FIFA World Cup in Brazil. Built on the rallying cry that reputation alone wins nothing — fear or be feared, hunt or be hunted, now or never — the campaign launched the predator, f50, f50 Messi, nitrocharge and 11pro Battle Pack boots. The best players in the world laced them up on football’s biggest stage, including Philipp Lahm, Dani Alves, Luis Suárez, Mesut Özil and Leo Messi.

SCANable provided body scanning and object scanning for the campaign, capturing talent and the Battle Pack boots as detailed 3D digital assets. The photogrammetry data supported a52’s CG and animation work across the spot’s striking visuals.

A hero product is judged like a portrait

Advertising puts the object at the center of the frame, lit hard, often filling the screen. There is no forgiving distance.

That makes product capture a different discipline from set scanning. The subject is small, the required resolution is high, and every manufacturing detail matters — stitch lines, the exact break of a synthetic upper, the sole tread, the way a lace sits in an eyelet. Those details are what tell a viewer they are looking at the actual product rather than a rendering of one.

Capturing the physical article means the CG version is the article, dimensionally. Our 3D scanning covers hero-object work as readily as it covers people.

Athletes under hard light

Sports advertising lights bodies to show them off. Rim light, hard key, high contrast, all of it designed to read musculature.

That lighting is unforgiving of imperfect geometry. Soft or approximated surface detail that would pass under flat light becomes obvious the moment a hard key rakes across it, because the highlight terminator traces every error in the mesh.

Athletic subjects also cannot hold still under tension, which is why simultaneous array capture matters more here than on a static object. Every camera fires together, so nothing is averaged across a breath, and our Mobile CyberSCAN™ Studios bring that array to wherever the talent already is.

Delivering into someone else’s pipeline

A finished scan is not a finished deliverable. The studio receiving it has conventions, and an asset that ignores them costs them time before it saves them any.

That means retopology to a mesh the animators can actually deform, UV layouts that support the texture resolution the spot needs, correct real-world scale, and a naming convention that matches the receiving studio’s rather than ours. A campaign built on colorways in particular needs UVs clean enough to retexture repeatedly without redoing the work each time.

Modeling and asset delivery is the half of the job that happens after everyone else has gone home.

Related commercial projects sits in the portfolio, and the full service list explains the methods behind it.