GREWE
TREATMENT
THE PROJECT
First of all, thank you very much for allowing us to participate in the development of this campaign.
In general terms, I see this campaign mostly with a sense of realism and authenticity. I wouldn't want the videos to feel overly commercial; instead, I want them to feel like glimpses into someone's life, more like documentaries, while still maintaining a cinematic and polished aesthetic.
In cinema, elements such as camera movements and aesthetics can make things appear more or less real, depending on how they are used. In this document, I will give you a general overview of how I envision the camera movements, transitions, acting, supers (graphics), and all the elements that make up these visual pieces.
THE STORIES
I see it in a very simple way, as it's a day in the life of these 4 characters. We need to convey their quality of life and the balance between office work and their shared moments with loved ones or leisure time. I want to approach the project in a very fresh and realistic way. We will document these situations, and during the editing process, we will find ways to showcase the similarities and differences of each individual.
Camera style
In terms of camera movements and aesthetics, I envision the scenes with a floating or handheld camera. This will help us create a sense of stolen moments, as if we are another viewer and that moment is real. Instead of using dollies and perfect movements, which would give it a more polished and less honest feel, this approach will bring a sense of realism. A bit of realism is crucial for this campaign since we would be documenting a day in the life of these characters. Another benefit of adopting this style is that we can move much faster, as it would require a more agile production in terms of equipment and personnel.
Camera style reference
PHOTOGRAPHY & STYLE
Regarding lighting and photography, what I want to do is to use as much natural light as possible, capturing the realism of sunlight and playing with ambient light. This approach will bring us a lot of joy and efficiency in the production process and also help us avoid the overly polished and rigid style of a production with excessive artificial lighting. Of course, if the location conditions do not allow for it, we may need to supplement with artificial lighting, but always with the intention of keeping it minimal and natural.
PHOTOGRAPHY & STYLE
PHOTOGRAPHY & STYLE
TRANSITIONS
We will create match cuts between the character changes, but I want to make sure not to force the match cut too much, as I would like it to feel fluid and natural. The locations will give us many options to make the transition, and we will plan this in advance to ensure we have all the transitions for each piece.
We will do graphic match cuts, sound match cuts, and action match cuts to avoid the resource feeling repetitive throughout the entire piece. I like the concept of match cuts as it reinforces the similarity and differences between the characters and the places where each one is located.
MATCH CUT TRANSITIONS REF
Graphic match cuts are also interesting. We can even use them to compare one place to another using split screens, where the scene starts in one space and ends in a completely different one. Let's take a look at this example.