Moneycorp for FLETCHERWILSON

Here are a few Behind the scenes stills from a studio shoot I directed with FLETCHERWILSON for Moneycorp.

The brief was to create an ambitious update  video using a well know track featuring motion graphics and as many of the staff from Moneycorp as possible…dancing.

Unfortunately due to copyright issues the finished film is not available on line

Visually I wanted to see as many performers at a time together against a clean white background where we could develop visual interest in post using the framing of text, movement and performers.IMG_9315By working creatively with position and scale against the white background we kept the video visually engaging in a way that evolved across the duration of the finished film.

We shot on the Sony FS7 with the lighting rig at the studio, DoP Don McVey would have more to say about how we lit the stage, how the camera and lenses behaved along with the approach we agreed on.IMG_9300Professional as ever, I think he did a great job creating a clean, bright and even canvas where the performers could move freely.

The choreography by Jess Brichto from Start theDance was perfect for what we wanted to achieve and for who we were working with. IMG_9348The feeling of unity, fun and focus that we captured  is testimony to the hard work and dedication of everyone involved and really shines through in the candid moments .

 

Laura from FLETCHERWILSON also played an integral part in getting this project over the line. IMG_9297Comprehensive support during pre production, on the day and integral during post production at FLETCHERWILSON HQ.

 

If like us, you want a lot of people dancing against a white background at the same time you’re going to need a bit of space. IMG_9337 We used Stage A at centerstage studio  it’s 50′ X 50′ 2500 SQ FT (15M X 15M 225 SQ M)

 

 

 

Smart Things for FLETCHERWILSON/TBA/Samsung

The Brief

Create a set of animated films for Samsung that provide context to the internet connected Smart Products, which Samsung make and to demonstrate how Smart Technology can simplify the users’ life.

The films needed to focus on the lives of the users and how the technology benefited them, rather than the technology in isolation. The films were to bookend speakers at a Samsung European Forum event that TBA were working on. An animated approach was chosen in order to provide flexibility of construction of scenarios, and to convey a geographically agnostic environment that people of different nationalities would be able to relate to whilst being fun and light-hearted.

 

 

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Password: SAMSUNG

My Approach

I worked with FLETCHERWILSON and their client TBA on the production of the films for their client Samsung.

The first step was defining the characters and placing them in a family unit where they would logically find scenarios to use the new Samsung products.

After briefing the team of designers and animators on character design and planning workflow I set about writing scripts that would bring the pre-selected product demo’s to life.

Working with TBA and their point of contact at Samsung I devised scripts that had some humour, themes and ongoing jeopardy that would keep an audience engaged with the story and allow the brand message to shine through.

Anyway… here are some stills from the first presentation.

Samsung YEllow presentaiton

 

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The films were well received and contributed positive context to a fantastically successful event – here’s some stills taken from the films with video extracts- 

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Click for video

 

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Click for video

 

If you haven’t heard of TBA you’ll likely have experienced their work but just not known they were behind it. They’re an awesome agency who creative live experiences for all your favourite brands – take a look at their portfolio.

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Healthcare UK behind the scenes

Working again with the team at FLETCHERWILSON  and their client Live Group. I wrote and directed this film for HealthcareUK to use as part of their publicity package.

Who are Healthcare UK? The film does a good job of explaining  that but what they say is:

“We help UK healthcare providers to do more business overseas.”

Brief

Create a commercial for the DTI department HealthcareUK to use internationally to illustrate the best in class healthcare provision the UK has to offer.

Combining live action and graphics to show practitioners at work as well as statistical information about the history, categories and advances of UK healthcare.

Response

The approach I took for this film was a traditional voice of authority adding context and detail to images of action and examples. I wrote the script in consultation with a team of healthcare professionals that contained all of the important and complex information in a straight forward way.

Next I had to define a look and feel for the piece that would work at whilst shooting at pace in a pressured working environment. This was the biggest challenge we had, making the most of the privileged and sensitive access to get great looking footage that would hold it’s own on an international stage.

After some thought and a few discussions amongst the production team I decided it was a great opportunity to shoot with the Arri Amira.

Specifically I wanted to take advantage of the slow motion, quick set up time and PL mount lenses as well as Prores 4444 post production workflow.

Stylistically I wanted to have a fluid, dynamic and steady camera style that would evoke a sense of busy efficiency along with a steady hand. Unfortunately we weren’t able to get a steady-cam so we used a jib arm.

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Between FLETCHERWILSON and Shoot Blue we gathered all the kit we needed and off we set for a ten day shoot around the UK.

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I spoke to DoP Don McVey  about our process and he had some great insights about the shoot that you might find interesting too.

 Joe Rosen: What set up did we shoot on?

Don Mc Vey: We shot on Arri Amira, Prores 4444 2K. Project rate was 25p, but we overcranked to 50fps and occasionally 100fps. C-Log with a Rec709 Lut in monitor.

Full set of Arri Ultra Primes.

The lighting was a compact setup for location work: Cineo HS, Techpro Felloni LED Panel, Dedo Lights.

Additional Grip: Hague K14 Pro Jib

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Joe Rosen: What were the benefits of our set up?

Don McVey: The Amira produces a beautifully cinematic image. Shooting in C-Log gives 14 stops of dynamic range which really helps hold highlights when shooting in situations where there is little lighting control.

The Cineo HS is an incredible light, giving a huge amount of punch for such a soft light. The unit is fairly small (with the exception of the ballast). I was able to use the Cineo to replicate daylight coming through windows, while its unique design gave a 180 degree soft light. It was also powerful enough to pull further back, helping to control falloff and give even exposure.

IMG_0330 Joe Rosen: What were the shortfalls of this set up?

Don McVey: While the Amira is a fantastic camera, it’s not small – or light! There were times when I wished I had a C300 in my hands, especially when moving around and cramming into small spaces. This was quickly forgotten though, when I saw the images produced by the Amira.

Shooting on cine primes is a great discipline, which often produce a much richer image. But in some of the more challenging locations, where time was a factor, a zoom would have come in very handy!

 

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Joe Rosen: What are the considerations for shooting in sensitive locations such as hospitals, operating theatres, and research facilities?

Don McVey: We really had to keep in mind that the ‘locations’ were actual hospital wards where sick people were being treated. Space was often limited and we were surrounded by equipment worth hundreds of thousands of pounds. Extra care had to be taken in general to ensure that we moved around with care and consideration.

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Joe Rosen: How did you light the challenging smaller spaces?

Don McVey: Smaller spaces were mostly lit with a combination of natural light and the Techpro LED. Occasionally popping in a Dedo. I tried to keep all lighting motivated. The first thing I did in each space was to look at the practicals and see how to accentuate what was already there. Or I would light from one side to boost what was coming through windows. I avoided lighting from the front, favouring side and back lighting, for a more dramatic look. Idea was to keep the rooms clean and bright while accentuating the people within the space.

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Joe Rosen: What surprised you most about the kit?

Don McVey: It was my first time using a Cineo HS, and I was blown away by what it did. It’s now a firm part of my go to lighting kit.

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Joe Rosen: Do you have any other comments on the kit or process from the perspective of the DoP?

Don McVey: Many of the locations were not exactly what you’d call pretty. Old buildings, ugly practical lights or just plain uninspiring spaces. We really tried to embrace every space we entered (sometimes a nudge by the director was needed), with the attitude of getting the absolute best out of each setup. Every location provided unique challenges to overcome. Sometimes this meant compromising on the original idea to ensure that we captured the required story elements and got what we needed for the edit.

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I’ll park this blog here, I could go on and write another thousand words or so about the approach to the edit, the GFX  and the Prores 4444 round trip in Adobe CC as well as the music, voice over, and grade but some people might think that’s a bit much.

I’d be happy to answer any question as would Don.

All that leaves is to thank to everyone involved, I think the finished film has turned out really well.

Photos: Andrew Molyneux – www.molyneuxassociates.com

Photos: Kieron Jansch – mannedcamera.com

Photos: Joe Edwards

Fashion films for FLETCHERWILSON

I directed this at FLETCHERWILSON for their friends at TBA, whose client Clarks, wanted a set of five concept films to be shown at the launch event of a new season of  footwear.

Brief

Create five beautiful, poetic live action films which will serve as the backdrop for a new season catwalk show. The films should evoke the spirit of each of the five the collections, have a loose narrative flow and cohesive feel.

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Creative Approach

We will capture a sense of life, dynamism and humanity by using people in their environments but without featuring recognisable faces. Using macro photography these films will have a sense of drama through the juxtaposition of intricate details and the large scale of the presentation image.  We would see soft focus movements in the background with hands, objects or bodies moving through the frame and the focus. This way we will create moving and overlapping abstracts from the details, tones and textures of each scenario.

Each of the vignettes will follow a loose narrative arc that picks out key atmospheric moments, colours, objects and forms on a journey that epitomises the range and look stunning. The shots within each vignette will be long, slow and considered allowing the images, colours, tone, mood and atmosphere to work for the audience complimenting the light, sound and staged layers of the live production.

 

Creative Approach Technical

By using hand-held, tracking-shots and obscure angles as well as shooting in close ups, extreme close ups and almost abstract macro we will create a strong feeling of understanding, intimacy and affinity for the audience with the mood and tone of each range.

Another layer of texture we will add in the shoot is using rare uncoated vintage lenses. These lenses have a strong analog look that includes interesting visual artifacts like lense flares and atmospheric aberrations but keep luscious, warm skin tones, smooth contrast and combine beautiful blend of sharpness and softness.

The editing style will follow the considered and measured approach and use composed dissolves that marry shot into shot in a dream like fashion that makes use of the super wide screen.

No small task.

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I was really excited to be working with FW and TBA again for this prestigious brand. I think these pictures show the creative fun we had making films that would evoke the mood, tone and feeling of each footwear collection.

Here are some photos that document the job

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We used an uncoated prime set from Genesis hire for lovely flares, artefacts and optical aberrations.

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D.O.P Don McVey working some magic with the very effective 100mm macro lens on the Sony FS700. Kat from FW officially had the best handwriting.

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“But what about some snow Rob?”

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“No problem

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Trick of the trade: I find the inside of a cheap duvet has a really convincing look of fresh snow when used in the background. (Kat was not convinced)

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I’ve been sliding around London for some time, with a macro lens. We got some amazing footage on this desk.

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Tip 2: We used a strong backlight on this set up to highlight  talc particles in the atmosphere.

Amongst other places, we went to Baba’s forest for some authentic woodland texture.

Forest

It was a great location that offered so many shots. I could have been there all day.

Last shot of the day. Cordial and tap water

TBA HD FULLSCREEN (1)We cut and graded all five films in Adobe Creative Cloud at a 5:1 aspect ratio… But that’s another story.

Final presentation with motorbike for scale.