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贝尔尼尼
案例简介：这是一个特殊的场合，当导演创建一个品牌的第一个 TVC，定义该产品的视觉识别; 这正是酒精品牌贝尼尼向 Ola 介绍的!电影导演艾米 · 阿莱为他们的新运动做的事情。 一个热情的阿莱深入贝尔尼尼的世界，发现了一个当代的、复杂的、闪闪发光的泡沫: “我立即看到了我们如何编织品牌肖像的回声: 皇冠, 贝尔尼尼独有的气泡和火花。" 她还意识到，大部分的概念可以在相机中产生，使用高超的艺术指导来实现这一切。 结果是一场引人注目的难忘的视觉盛宴。整个广告都有一种奢华的感觉，和一个很棒的香水广告联系在一起: 三个充满活力的乔西女人入住了一个非常普通的当地酒店房间。一切正常，直到其中一人发现一个神秘的红色按钮，上面有一个发光的皇冠，上面写着 “推动火花”，无法抗拒…… 房间被改造了; 墙壁向上翻转，地板下降，酒吧出现，所有这些都在快节奏的派对场景中闪闪发光, 气球和闪亮的晚装改变了喧闹的酒店房间和它的居住者。 物理转换机械地、实时地发生在观众的眼前: “我试图创造真正吸引人的转换，角色可以与之互动, 我们以前没见过。例如，除了墙壁翻转之外，地板下降来营造一种前所未有的 “对话坑” 氛围。 “90% 的效果是在相机中完成的，一点点的集合扩展和一层火花在这里和那里添加，创造了最终的错觉 “现在的诱惑经常是在 CGI (计算机生成的图像) 中做这种事情，但是只要有可能，我仍然会一直把目标放在旧学校和摄像机中。因此，我可怜的艺术总监劳伦斯 · 毕晓普花了许多漫长的时间和深夜，在没有理想工具的情况下，想出了建造机械机构的经济高效的方法。我们的预算中没有液压系统; 只是一些人把绳子拉了下来。 “在 Setup Studio 的格雷格和 Gravitron 的出色团队的帮助下，我们有了转动墙壁的机械支点，床上的滑轮, 劳伦斯设计的吊灯在地板下降的同时被放入滑轮上。床拉起来成为酒吧。" Allais 发现了一些诱人的方法来巧妙地整合和加强广告中的品牌形象，从气泡开始: “这显然是用气球翻译的, 但是我使用了圆圈图案，并将其融入了酒店房间本身的设计和布局中。" 从平淡到奢华，从平淡到闪亮，从沉闷到多彩，贝尔尼尼是表演的明星和火花的来源。这是一个特殊的场合，当一个导演创建一个品牌的第一个 TVC，定义该产品的视觉识别;这正是酒精品牌 Bernini 向 Ola 介绍的!电影导演艾米 · 阿莱为他们的新运动做的事情。 一个热情的阿莱深入贝尔尼尼的世界，发现了一个当代的、复杂的、闪闪发光的泡沫: “我立即看到了我们如何编织品牌肖像的回声: 皇冠, 贝尔尼尼独有的气泡和火花。" 她还意识到，大部分的概念可以在相机中产生，使用高超的艺术指导来实现这一切。 结果是一场引人注目的难忘的视觉盛宴。整个广告都有一种奢华的感觉，和一个很棒的香水广告联系在一起: 三个充满活力的乔西女人入住了一个非常普通的当地酒店房间。一切正常，直到其中一人发现一个神秘的红色按钮，上面有一个发光的皇冠，上面写着 “推动火花”，无法抗拒…… 房间被改造了; 墙壁向上翻转，地板下降，酒吧出现，所有这些都在快节奏的派对场景中闪闪发光, 气球和闪亮的晚装改变了喧闹的酒店房间和它的居住者。 物理转换机械地、实时地发生在观众的眼前: “我试图创造真正吸引人的转换，角色可以与之互动, 我们以前没见过。例如，除了墙壁翻转之外，地板下降来营造一种前所未有的 “对话坑” 氛围。 “90% 的效果是在相机中完成的，一点点的集合扩展和一层火花在这里和那里添加，创造了最终的错觉 “现在的诱惑经常是在 CGI (计算机生成的图像) 中做这种事情，但是只要有可能，我仍然会一直把目标放在旧学校和摄像机中。因此，我可怜的艺术总监劳伦斯 · 毕晓普花了许多漫长的时间和深夜，在没有理想工具的情况下，想出了建造机械机构的经济高效的方法。我们的预算中没有液压系统; 只是一些人把绳子拉了下来。 “在 Gre 的帮助下来自安装工作室和 wonderfu 的 g
贝尔尼尼
案例简介：It’s a special occasion when a director gets to create a brand's first TVC, defining the visual identity for that product; which is exactly what alcohol brand Bernini briefed Ola! Films director Amy Allais to do for their new campaign. A passionate Allais delved into the world of Bernini and found a contemporary, sophisticated and sparkly bubbly: "I immediately saw how we could weave in echoes of the brand iconography: the crown, bubbles and sparkle that are unique to Bernini." She also realized that much of the concept could be produced in camera, using superb art direction to bring it all to life. What results is an arresting and memorable visual feast. The whole ad has that luxurious feel associated with a great perfume ad: Three vibrant Jozi women check into a very ordinary local hotel room. All is normal until one of them spots a mysterious red button with a glowing crown marked 'Push for sparkle' and can't resist… The room is transformed; walls flip up, the floor drops down, and a bar emerges, all in a fast-paced party scene as glitter, balloons and sparkly evening clothes transform the hum-drum hotel room and its occupants. The physical transformations happen mechanically, in real time, right before viewers' eyes: "I tried to create transformations that are truly engaging, that the characters can interact with, and that we haven’t seen before. For example, in addition to the walls flipping around, the floor drops down to create a “conversation pit” vibe that has never been done before. "90% of the effects were done in camera, with a little bit of set extension and a layer of sparkle added here and there, creating the final illusion "These days the temptation is often to do this kind of thing in CGI (computer generated imagery) but whenever possible I will still always aim to go Old School and in-camera. Hence my poor dear art director Laurence Bishop spent many long hours and late nights working out cost-effective ways of building mechanical mechanisms without the ideal tools. No hydraulics in our budget; just some guys pulling ropes off-set. "With the help of Greg from Setup Studio and the wonderful team from from Gravitron, we had mechanical pivots turning the walls, pulleys for the bed, the Chandelier that Laurence designed being lowered into the shot on a pulley at the same time as the floor descended. And the bed pulled up to become the bar." Allais found alluring ways to subtly integrate and reinforcing the brand iconography in the ad, beginning with bubbles: "This translates in an obvious way with balloons, but I used the circle motif and integrated it into the design and layout of the hotel room itself." The transformation goes from bland to luxe, from flat to sparkly, from dull to colourful, with Bernini the star of the show and source of the sparkle.It’s a special occasion when a director gets to create a brand's first TVC, defining the visual identity for that product; which is exactly what alcohol brand Bernini briefed Ola! Films director Amy Allais to do for their new campaign. A passionate Allais delved into the world of Bernini and found a contemporary, sophisticated and sparkly bubbly: "I immediately saw how we could weave in echoes of the brand iconography: the crown, bubbles and sparkle that are unique to Bernini." She also realized that much of the concept could be produced in camera, using superb art direction to bring it all to life. What results is an arresting and memorable visual feast. The whole ad has that luxurious feel associated with a great perfume ad: Three vibrant Jozi women check into a very ordinary local hotel room. All is normal until one of them spots a mysterious red button with a glowing crown marked 'Push for sparkle' and can't resist… The room is transformed; walls flip up, the floor drops down, and a bar emerges, all in a fast-paced party scene as glitter, balloons and sparkly evening clothes transform the hum-drum hotel room and its occupants. The physical transformations happen mechanically, in real time, right before viewers' eyes: "I tried to create transformations that are truly engaging, that the characters can interact with, and that we haven’t seen before. For example, in addition to the walls flipping around, the floor drops down to create a “conversation pit” vibe that has never been done before. "90% of the effects were done in camera, with a little bit of set extension and a layer of sparkle added here and there, creating the final illusion "These days the temptation is often to do this kind of thing in CGI (computer generated imagery) but whenever possible I will still always aim to go Old School and in-camera. Hence my poor dear art director Laurence Bishop spent many long hours and late nights working out cost-effective ways of building mechanical mechanisms without the ideal tools. No hydraulics in our budget; just some guys pulling ropes off-set. "With the help of Greg from Setup Studio and the wonderfu
Bernini
案例简介：这是一个特殊的场合，当导演创建一个品牌的第一个 TVC，定义该产品的视觉识别; 这正是酒精品牌贝尼尼向 Ola 介绍的!电影导演艾米 · 阿莱为他们的新运动做的事情。 一个热情的阿莱深入贝尔尼尼的世界，发现了一个当代的、复杂的、闪闪发光的泡沫: “我立即看到了我们如何编织品牌肖像的回声: 皇冠, 贝尔尼尼独有的气泡和火花。" 她还意识到，大部分的概念可以在相机中产生，使用高超的艺术指导来实现这一切。 结果是一场引人注目的难忘的视觉盛宴。整个广告都有一种奢华的感觉，和一个很棒的香水广告联系在一起: 三个充满活力的乔西女人入住了一个非常普通的当地酒店房间。一切正常，直到其中一人发现一个神秘的红色按钮，上面有一个发光的皇冠，上面写着 “推动火花”，无法抗拒…… 房间被改造了; 墙壁向上翻转，地板下降，酒吧出现，所有这些都在快节奏的派对场景中闪闪发光, 气球和闪亮的晚装改变了喧闹的酒店房间和它的居住者。 物理转换机械地、实时地发生在观众的眼前: “我试图创造真正吸引人的转换，角色可以与之互动, 我们以前没见过。例如，除了墙壁翻转之外，地板下降来营造一种前所未有的 “对话坑” 氛围。 “90% 的效果是在相机中完成的，一点点的集合扩展和一层火花在这里和那里添加，创造了最终的错觉 “现在的诱惑经常是在 CGI (计算机生成的图像) 中做这种事情，但是只要有可能，我仍然会一直把目标放在旧学校和摄像机中。因此，我可怜的艺术总监劳伦斯 · 毕晓普花了许多漫长的时间和深夜，在没有理想工具的情况下，想出了建造机械机构的经济高效的方法。我们的预算中没有液压系统; 只是一些人把绳子拉了下来。 “在 Setup Studio 的格雷格和 Gravitron 的出色团队的帮助下，我们有了转动墙壁的机械支点，床上的滑轮, 劳伦斯设计的吊灯在地板下降的同时被放入滑轮上。床拉起来成为酒吧。" Allais 发现了一些诱人的方法来巧妙地整合和加强广告中的品牌形象，从气泡开始: “这显然是用气球翻译的, 但是我使用了圆圈图案，并将其融入了酒店房间本身的设计和布局中。" 从平淡到奢华，从平淡到闪亮，从沉闷到多彩，贝尔尼尼是表演的明星和火花的来源。这是一个特殊的场合，当一个导演创建一个品牌的第一个 TVC，定义该产品的视觉识别;这正是酒精品牌 Bernini 向 Ola 介绍的!电影导演艾米 · 阿莱为他们的新运动做的事情。 一个热情的阿莱深入贝尔尼尼的世界，发现了一个当代的、复杂的、闪闪发光的泡沫: “我立即看到了我们如何编织品牌肖像的回声: 皇冠, 贝尔尼尼独有的气泡和火花。" 她还意识到，大部分的概念可以在相机中产生，使用高超的艺术指导来实现这一切。 结果是一场引人注目的难忘的视觉盛宴。整个广告都有一种奢华的感觉，和一个很棒的香水广告联系在一起: 三个充满活力的乔西女人入住了一个非常普通的当地酒店房间。一切正常，直到其中一人发现一个神秘的红色按钮，上面有一个发光的皇冠，上面写着 “推动火花”，无法抗拒…… 房间被改造了; 墙壁向上翻转，地板下降，酒吧出现，所有这些都在快节奏的派对场景中闪闪发光, 气球和闪亮的晚装改变了喧闹的酒店房间和它的居住者。 物理转换机械地、实时地发生在观众的眼前: “我试图创造真正吸引人的转换，角色可以与之互动, 我们以前没见过。例如，除了墙壁翻转之外，地板下降来营造一种前所未有的 “对话坑” 氛围。 “90% 的效果是在相机中完成的，一点点的集合扩展和一层火花在这里和那里添加，创造了最终的错觉 “现在的诱惑经常是在 CGI (计算机生成的图像) 中做这种事情，但是只要有可能，我仍然会一直把目标放在旧学校和摄像机中。因此，我可怜的艺术总监劳伦斯 · 毕晓普花了许多漫长的时间和深夜，在没有理想工具的情况下，想出了建造机械机构的经济高效的方法。我们的预算中没有液压系统; 只是一些人把绳子拉了下来。 “在 Gre 的帮助下来自安装工作室和 wonderfu 的 g
Bernini
案例简介：It’s a special occasion when a director gets to create a brand's first TVC, defining the visual identity for that product; which is exactly what alcohol brand Bernini briefed Ola! Films director Amy Allais to do for their new campaign. A passionate Allais delved into the world of Bernini and found a contemporary, sophisticated and sparkly bubbly: "I immediately saw how we could weave in echoes of the brand iconography: the crown, bubbles and sparkle that are unique to Bernini." She also realized that much of the concept could be produced in camera, using superb art direction to bring it all to life. What results is an arresting and memorable visual feast. The whole ad has that luxurious feel associated with a great perfume ad: Three vibrant Jozi women check into a very ordinary local hotel room. All is normal until one of them spots a mysterious red button with a glowing crown marked 'Push for sparkle' and can't resist… The room is transformed; walls flip up, the floor drops down, and a bar emerges, all in a fast-paced party scene as glitter, balloons and sparkly evening clothes transform the hum-drum hotel room and its occupants. The physical transformations happen mechanically, in real time, right before viewers' eyes: "I tried to create transformations that are truly engaging, that the characters can interact with, and that we haven’t seen before. For example, in addition to the walls flipping around, the floor drops down to create a “conversation pit” vibe that has never been done before. "90% of the effects were done in camera, with a little bit of set extension and a layer of sparkle added here and there, creating the final illusion "These days the temptation is often to do this kind of thing in CGI (computer generated imagery) but whenever possible I will still always aim to go Old School and in-camera. Hence my poor dear art director Laurence Bishop spent many long hours and late nights working out cost-effective ways of building mechanical mechanisms without the ideal tools. No hydraulics in our budget; just some guys pulling ropes off-set. "With the help of Greg from Setup Studio and the wonderful team from from Gravitron, we had mechanical pivots turning the walls, pulleys for the bed, the Chandelier that Laurence designed being lowered into the shot on a pulley at the same time as the floor descended. And the bed pulled up to become the bar." Allais found alluring ways to subtly integrate and reinforcing the brand iconography in the ad, beginning with bubbles: "This translates in an obvious way with balloons, but I used the circle motif and integrated it into the design and layout of the hotel room itself." The transformation goes from bland to luxe, from flat to sparkly, from dull to colourful, with Bernini the star of the show and source of the sparkle.It’s a special occasion when a director gets to create a brand's first TVC, defining the visual identity for that product; which is exactly what alcohol brand Bernini briefed Ola! Films director Amy Allais to do for their new campaign. A passionate Allais delved into the world of Bernini and found a contemporary, sophisticated and sparkly bubbly: "I immediately saw how we could weave in echoes of the brand iconography: the crown, bubbles and sparkle that are unique to Bernini." She also realized that much of the concept could be produced in camera, using superb art direction to bring it all to life. What results is an arresting and memorable visual feast. The whole ad has that luxurious feel associated with a great perfume ad: Three vibrant Jozi women check into a very ordinary local hotel room. All is normal until one of them spots a mysterious red button with a glowing crown marked 'Push for sparkle' and can't resist… The room is transformed; walls flip up, the floor drops down, and a bar emerges, all in a fast-paced party scene as glitter, balloons and sparkly evening clothes transform the hum-drum hotel room and its occupants. The physical transformations happen mechanically, in real time, right before viewers' eyes: "I tried to create transformations that are truly engaging, that the characters can interact with, and that we haven’t seen before. For example, in addition to the walls flipping around, the floor drops down to create a “conversation pit” vibe that has never been done before. "90% of the effects were done in camera, with a little bit of set extension and a layer of sparkle added here and there, creating the final illusion "These days the temptation is often to do this kind of thing in CGI (computer generated imagery) but whenever possible I will still always aim to go Old School and in-camera. Hence my poor dear art director Laurence Bishop spent many long hours and late nights working out cost-effective ways of building mechanical mechanisms without the ideal tools. No hydraulics in our budget; just some guys pulling ropes off-set. "With the help of Greg from Setup Studio and the wonderfu
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