Posts Tagged ‘film’
11th April 14
Author: Ben Shaw, Social Strategy Lead, BBH London
Last month, BBH London sent 11 lucky people to Austin to discover the latest innovations that tech, film and music had to offer. Amongst the BBQ, beer and banter, they managed to find a bunch of insights about the advancement of the human race. Topics like this may only truly be delivered under a desert sky with smoked meat and a pale ale, but in an effort to distribute our learnings to a wider audience we’ve tried to distil them down into some slides (below). We looked at three topics that we think are vital to our future – as an agency and as human beings. Enjoy.TECHNOLOGYCREATIVITYPEOPLE
16th September 11
Author: Lucia Komljen, Strategist, BBH London
This week saw the launch of ASOS Urban Tour – a shoppable, cultural experience in the form of an interactive platform promoting ASOS A/W 2011 menswear collection. It invites the audience to watch some of the world’s most skilled urban musicians, dancers, designers and artist in action across the world and to explore what – and where – inspires their craft and their style. The centerpiece is a dynamic, shoppable video set in London which can be paused and explored at any point, presenting the user with more information on the dancers and enabling the purchase of their looks.
Overall, we hope Urban Tour is an example of what can be achieved when you push technology and design in an attempt to seamlessly combine entertainment and service for e-commerce brands. Furthermore, it’s another demonstration of just how powerful it can be when technology enables ambitious creativity throughout the customer journey.
Here’s the story behind the work so far, we’d love to hear what you think. Read full post
14th June 11
Posted in Film
Author: Alice Bullimore, Integrated Producer, BBH London
What would happen if you asked everyone in the world to take a video of their life on the same day?
Well, it’s happened. The day was July 24th 2010 and people from 120 countries uploaded over 80,000 videos. Life, in a Day.
The raw footage itself is powerful. As Alexandra Coghlan comments in her great review, “what is perhaps most extraordinary and exciting about this project are its leftovers”, and on the ‘explore’ tab at youtube.com/lifeinaday the guys at Google have made all this footage available for us to filter and view, the many stories untold.
But then there’s the film.
Kevin MacDonald & Ridley Scott at RSA undertook the ambitious curatorial job of creating their story of the world, Joe Walker took on the crazily gargantaun mission of editing.
Over 4500 hours of footage reviewed, complied and cut into a coherent 90 minute film.
The film’s not bad either.
It was well received at Sundance, Berlin and SXSW film festivals, Total Film have given it 4 stars and it currently enjoys a 100% fresh rating on Rotten Tomatoes.
But what was it like laying down this challenge?
What if no-one had entered anything?
What if most of the crowd sourced footage was unusable?
With so much footage to go through, how do you choose what story to tell? An individual’s? The world’s? The editors’? Just whose agenda is at work, and what are the implications of a film like this?
Well, we’re privileged to be able to get a bit closer to some of these answers with a preview screening & live Q&A with the editor, Joe Walker, at BBH in London this wednesday 15th June at 5.00pm.
If you would like to ask Will and the team a question of your own, we have a limited number of tickets available for you & a friend to join us.
Please email email@example.com to get a free pair of tickets. First come first served.
We look forward to seeing you.
You can also upload questions for Kevin MacDonald and Life in a Day contributors here, by 2pm UK time *today* in advance of the UK premiere. The film is on national release in Vue cinemas on Thursday.
2nd June 11
Last Saturday during coverage of the Champions League Final, BBH released our first 3D advert for Audi. Guest author Davud Karbasssioun, BBH Head of Film explains why this was the right technology for the right brand.
Over the last two years you would have had to be holed up on Pandora not to know that 3D was making a serious comeback. Some experts insist that film’s transition to 3D is as pivotal as the adoption of sound or the move to full colour. I’m not sure it really is that ‘black and white’…
More recently 3D has been used as a gimmick to add novelty to films rather than enhance their storytelling power, which hasn’t done the 3D brand any favours. Cynics would argue 3D is Hollywood’s answer to piracy, their way of ensuring bums on seats in an age of free sharing and piracy.
Either way the platform is here for all advertisers to embrace. Channels are desperately trying to get everyone to watch everything in 3D and all the electronics brands are falling over themselves to convince us that those brand new HD LCD’s we’d just invested in needed to be replaced with new 3D TVs.
But if brands are going to embrace 3D they must learn from the mistakes Hollywood is making and do it by respecting the technology. To me, Audi’s recent 2 ½ minute Le Mans film is a good example.
(The video above requires red/blue 3d glasses – for other options including plain old 2d, click on the 3D options button)
The ad features Audi Le Mans driver Allan McNish describing what it takes to win the legendary Le Mans 24-hour race. BBH Creative Directors Kevin Stark & Nick Kidney conceived the concept for the film after viewing a presentation by the charismatic McNish, describing the intensity, precision & endurance required to succeed in the race. From that moment on the brief was to dramatise that experience of the race as best they could using Allan’s own improvised narrative.
3D was never in the brief, in fact the guys specifically wanted to use 2D hand drawn art to give the film a simple, personal charm that matched the drivers personality. The idea of shooting Allan and making the film in 3D came later with Passion Pictures when it was clear that viewing the film though a stereoscopic lens would only further enhance the viewer’s engagement. Using both the Sky 3D broadcast of the Champions League final and the launch of the final Harry Potter installment in 3D are the perfect events to share it.
Anything that increases the creative spectrum is a great thing. 3D, if used appropriately and well, enhances the story. 3D, used badly, is terrible. Unfortunately, Hollywood is so desperate to generate hype to sell tickets that there is inevitably going to be overwhelming pressure from movie studios to push 3D in the hope that this will rescue the basic shortcoming of the film itself. That is the fundamental problem right now.
Wim Wenders’ film Pina is for me a rare example of 3D used beautifully. Here the 3D technology is used to open up a stage to give the Pina Bausch Dance Group the space to perform on, The results are as effective as they are beautiful (not sure it will challenge Hangover 2 at the Box office though).
Like Pina this Audi film is a rare example of helping dramatise an experience for the viewer that wouldn’t be as full an experience as in simple 2D. To me that’s how 3D technology should be used and how it will be most respected by the viewers, a win-win for brands.
Essentially the way I see it Audi are simply taking advantage of the 3D technology, or in German ‘Vorsprung durch 3D Technik.’
27th February 10
This is a stunning piece of film, shot by Sam O’Hare in NYC, in miniature and using a shallow depth of field. Worth noting right at the outset that the tilt-shift effect was faked in post (but the overall effect is far from lessened because of this).
For best results hit HD and watch in full screen. And turn it up.
There’s a really great interview with O’Hare here, on the Aero Film site. Here’s a sample, in which O’Hare talks about the equipment he used in putting this together. It involved over 35,000 stills.
The music is perfectly matched. It was specially written by Rosi Golan and Alex Wong, and composed by Human.
If you watch carefully there are some priceless moments, usually involving tiny characters doing things that look other-worldly when viewed in this way (I particularly like the scene in which someone sneaks out on their roof – this is shot in the height of the hottest part of the summer of 09 – to have a quick cigarette). One am pornosu of the slightly odder things about the film is that despite seeing hundreds of people across the five minute piece, we don’t see a single face. This adds to the surreal, almost fake quality of the film.
Thanks to @finnbarrw for the heads-up.