Big parties. Large packages. How do we illustrate a growing retail chain's ambition to make a mark?
Read about the work behind a campaign - and the color detail that nearly caused everything to fall apart.
Greenscreen. And in this case, also
Greyscreen and Orangescreen.
How is it obvious to a viewer that it's large
packages and normal people? And not
small people and normal packages?
How does the viewer perceive that the products are unnaturally
large? Instead of the people being unnaturally small?
AD Jakob Westman's (Haus) questions are always clever and multifaceted. And always a starting point for something to explore together. Large packages. The client's message and the heart of the matter. "We sell large packages." How do we convey that in images?
An interplay between film, still images, and photorealistic 3D. But what is what? We need a clear workflow from the beginning. If we fail in planning and executing one image component, it won't fit with the others when the puzzle finally takes shape.
Film recording and photography simultaneously. Film photography almost always uses a shutter speed of 1/50, while still images are often exposed with flash at around 1/10,000 to achieve sharpness. Film generally tolerates more noise and higher ISO, while model photography often stays below ISO 100 to do justice to skin tones. The recording was about finding a middle ground - and then working out any compromises in post-production.
behind the scenes
We've had hour-long meetings about shadows.
Late-night phone calls. Shadows?
Natural, clear shadows are the glue that binds the image components together in a common context. With accurate shadows, the viewer buys into the illusion that everything is taking place in the same room. But how do we create them? Without perfect shadows, the production loses its quality.
The color that no one thought of.
In still images, we separate main objects from the background with AI tools and pixel precision. In film, on the other hand, we use greenscreen, a less precise method based on color separation. So who came up with using a green bouquet against a green background?
Our computers can't distinguish between the shades of green in the background and the bouquet! It becomes a daunting task for our VFX artists to cut and paste manually.
Our participants are top models from agencies.
Their radiance is a mix of experience, makeup, acting talent, and the geometry of the body and face.
And, of course, a common goal - for a few seconds, both the model, director, and team know exactly what they're looking for.
Satisfied customer? For a few weeks, the customer's brand is exposed everywhere. Subway, city billboards, social media, and print campaigns in newspapers. Everything counts, everything is visible, everything shapes an impression. The impression creates the brand. Satisfied?
We're already planning the next campaign. "Julboost" will be the follow-up to "Stooora fester".
Idea, Concept & PR: Haus
Media Agency: Hjärtan & Vetenskap
Web Agency: Jordens människor
Creative Director: Jakob Westman
Art Director: Jonas Granström
Film production: Swedish Frames AB
Stylist: Merilin Kermas Mardo
Photographer: Johan Nordström
VFX Director: Simon Karlsson
Director: Jonatan Kruse