The video is intended for an HCP (healthcare professional) audience. The objective is to introduce the viewer to the lesser-known Lp(a) cholesterol, focusing on its composition and how it may contribute to cardiovascular disease.

The animation covers the molecular biology of the Lp(a) cholesterol, including the genetics behind its variability and how its elevated levels can result in increases in atherosclerotic cardiovascular disease (ASCVD) risk, similar to that of the more well-known LDL-Cholesterol. The animation highlights the importance of new Lp(a) targeted therapies in the treatment of ASCVD.

The animation covers the molecular biology of the Lp(a) cholesterol, including the genetics behind its variability and how its elevated levels can result in increases in atherosclerotic cardiovascular disease (ASCVD) risk, similar to that of the more well-known LDL-Cholesterol. The animation highlights the importance of new Lp(a) targeted therapies in the treatment of ASCVD.

With Lp(a) as our antihero, the film was designed to make this molecule the star and give the audience a detailed look at its structure. To this end, we created a bespoke camera setup which allowed us first to follow a single Lp(a) molecule tumbling amongst thousands of others; but then to descend and ‘land’ on its surface as if it were a planet. Moving with its rotation, we could clearly specify its components without slowing things down and reducing the drama of the scene.

We also built a functioning simulation of an arterial blockage, outlining the stages of plaque formation, rupture and vessel occlusion. While this was eventually cut down and edited to fit the timing of the narration, the final effect remains a highly detailed and convincing depiction of this complex process.

‘3dsMax’ is the primary software we used to model, light, texture, and animate each scene. We also used the ‘tyFlow’ plugin for 3dsMax to create particle and physical simulations, including the arterial blockage described above. The Lp(a) molecule was initially modelled in ‘ZBrush’ to give us greater control over its form. The film was rendered using ‘Vray’. ‘Fusion’ was then used to composite and colour correct these renders to create the finished shots. These were then edited in ‘Premiere’ along with the titles, 2D elements, and labels that were created in ‘After Effects’.