Gatorade Fierce “Slam” Featuring Paul George

Gatorade Fierce “Slam” stars Paul George of the Indiana Pacers in a CG-driven 2014 commercial where a bottle of Gatorade Fierce explodes into action. Blue Gatorade gushes from George’s body as he dominates the basketball court, fakes out a defender gushing red Gatorade, and throws down a triumphant slam dunk — all set to the ONYX track “Slam.” As Gatorade put it, “Fierce is bold, intense, and relentless. When fierce athletes like Paul George are at their best, they are unstoppable.” The spot marked George’s debut campaign as the sports drink’s NBA spokesperson.

SCANable provided on-location cyberscanning services for the production, capturing high-resolution 3D data that was used to create the computer-generated visual effects seen throughout this visually stunning advertisement in Gatorade’s Fierce campaign.

Advertising gives you a window, not a day

Commercial schedules are compressed. A capture team is one of several things competing for the same talent on a shoot already booked to the minute.

The practical answer is to bring the equipment to the production and work inside the gaps — between setups, during a lighting change, while the next camera position is built.

That is why our Mobile CyberSCAN™ Studios exist as a deployable system rather than a fixed facility. A capture that takes a fraction of a second to expose can be set up, run, and struck without ever becoming the reason a shoot ran long.

A uniform is geometry before it is a texture

Sports apparel does not lie flat on a body. It tents across the shoulders, bunches at the waist, and holds a shape that has little to do with the anatomy underneath.

Painting that onto a smooth digital body never quite reads. The silhouette is wrong at the edges, and silhouette is what an audience judges first.

Capturing a performer in the wardrobe the camera will see records the garment as real geometry — the drape, the thickness, the gap between fabric and skin. Costume and wardrobe capture happens in the same pass as the body itself, which is what makes a digital double usable rather than a starting point.

Simulation needs something solid to hit

Fluid, particle, and cloth systems do not respond to an image. They respond to a surface.

When liquid is meant to pour off a body, wrap a limb, or break against a shoulder, the simulation is only as convincing as the collision geometry it runs against. An approximated body produces contact that reads a beat early or a beat late, and the eye catches it.

A measured scan gives the effects team a collider with true volume and true proportion. Everything ships after retopology and render-ready preparation so the mesh behaves predictably at simulation resolution.

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