Monroe needed a working strut, on a real car, driving down a real street. Not a diagram. Not a cutaway. Believable, moving footage.
Nothing kills realism faster than a mechanical part that moves wrong. Every compression, every bit of road feedback, had to read as true.
The strut cad imported lit and animated in Cinema 4D and Redshift, a car driving down a street staged and driven through Unreal Engine — All combined in After Effects, until the strut looked less like an animation and more like a road test.
