First and foremost I’d like to thank you for giving us the opportunity to bid on this project. In general terms, I see this as a piece that needs to be real. We need to feel that the moments are genuine and spontaneous with friends enjoying each other's company throughout the year.
In this presentation I describe how the locations are envisioned including foliage, lighting, colors and everything related to the execution of each piece.
PRODUCTION OF 8 VIDEOS
WALK ON WATER:
Capturing fun and real expressions is of utmost importance in this video. For this reason, I am suggesting the use of 2 cameras. Working with a second camera operator will ensure that we get the maximum amount of coverage from various angles.
HAVE A PICNIC:
Here I find that placing a floating picnic table in the middle of a lake will be fun. We can add some intrigue by having a guy jump off a dock and into a lake only to reveal that he is swimming towards a group of his friends that are on the floating picnic table. We pull back the camera to reveal the distance that he needs to swim from the dock to the table.
PLAY IN THE RAIN:
After we see the bottle spinning we move to a closeup shot of our protagonist’s sunglasses. Suddenly, his face begins to get wet and when the camera pulls back we see that the water is coming from sprinklers.
HAVE A CAMP FIRE:
The location for this piece is very important. It should be warm, cozy and be a location that gives us access to a window where we could clearly see that it is raining outside.
In this story it is important to capture the genuine “friendship" among our actors. We know that they always want to have a good time and play no matter the weather. The rain won’t stop them. They want to enjoy the time with each other and with a Shandy.
In the exterior scenes, such as at the lake and with the sprinklers, the idea is to have light that is natural and less commercial or artificial. Think documentary style.
We will use available light while using artificial light as support, but keeping the look real. We want to stay away from a look that is professionally lit and fake.
For product shots that require high speed video we will be working with a tabletop DP. We will go into details of these shots further in the presentation.
Outdoor lighting / natural
on location indoor lighting
STYLE AND LOOK
Having a natural and credible look is our goal. We want the viewer to feel that it is a realistic video and not over-produced. The idea is that the consumer feel that he is part of the video and part of the experience. To achieve this, an editorial style shoot may be the right approach.
We will have our characters interacting well with their environment without having much to think about. They will be real, genuine which will help the editorial and fresh style that we want.
Camera movements are very important to feel that we are part of the natural environment. We will shoot handheld which allows us to achieve the realism that I am wanting to transmit - all while preserving the cinematography.
In terms of the stories, the idea is to tell them in an organic and natural manner. The look and feel will be editorial style, staying away from a typical television commercial. It will be spontaneous and casual while preserving the framing and shots. We want for the footage to feel cinematographic bringing the visuals to another level.
SLOW MOTION VIDEO
We are fortunate to have on our team, tabletop DP Max Losito. Max’s work is excellent. Please take a look!
After discussing the project with Max, we find it best to shoot this effect in studio. Working with the Phantom camera requires a good amount of lights, which we can easily manage in a controlled environment. The idea is to light the shot to match the background, which we will shoot at the location.
In order to keep the look of the campaign consistent we can shoot plates on location. However, the option to use stock footage for the background is also an option.
We will print the three background images on duratrans/translight (a material that allows light to penetrate it’s image in order to give it light).
Working with a real dock will allow us to place our elements in the foreground, where we will shoot several plates allowing us to create the composition.