Look & Feel
Everything we do visually with this film needs to look great, cinematically beautiful, and with a beautiful premium gloss across it, like a sequence out of a high end feature film rather than a commercial, to raise the production value. Saturated colours, rich textures and an articulated visual language of shots and angles that keep us close to the action along with underlining the human side of the characters reactions to make it as colourful as possible; where everything feels, positive and glowing in a ‘hyper-real’ way, and every new angle feels spectacular and exciting.
For this to be achieved, we’ll rely heavily on natural sunlight, which we will hopefully be blessed with due to the location. Warm, bright flares flooding …show more content…
Then we would mix in these grand, sweeping images with fresh, spontaneous, hand-held movement to make it feel more immediate, more raw and real to keep it really vibrant, playing with light and shadows, and backlight to make it literally shine as it moves through the cityscape
For the car, all the shots will be carefully designed to create maximum visual impact, capturing the design along with the car’s performance, which is why we want to give ourselves as many possibilities regards to footage, overshooting to make sure we really capture the car’s essence, driving performance and design in a really dynamic and premium way.
This will give us speed and flexibility, in order to capture a vast variety of images and angles that we’ll be able to use for the 70" product, where we can be more focused on the L46 itself and its range of …show more content…
In the beginning, we’ll start by being very graphical, in order to help the audience grasp the concept perfectly, as they notice the other cars and start to become suspicious and curious about what is going on. From here, we will cut to the neighbour, who acts almost like a personification of our viewers reactions, questioning ‘what’s going on here?’, then to add to his ‘nosey neighbour’ intrigue, we’ll build a 2 metre hedge, so that the viewer/neighbour assumes that if only one car can fit, then only one car will come out, which makes it all the funnier when the L46’s start to stream out of the driveway, playing with the viewers concept of reality and grabbing their attention even
Everything we do visually with this film needs to look great, cinematically beautiful, and with a beautiful premium gloss across it, like a sequence out of a high end feature film rather than a commercial, to raise the production value. Saturated colours, rich textures and an articulated visual language of shots and angles that keep us close to the action along with underlining the human side of the characters reactions to make it as colourful as possible; where everything feels, positive and glowing in a ‘hyper-real’ way, and every new angle feels spectacular and exciting.
For this to be achieved, we’ll rely heavily on natural sunlight, which we will hopefully be blessed with due to the location. Warm, bright flares flooding …show more content…
Then we would mix in these grand, sweeping images with fresh, spontaneous, hand-held movement to make it feel more immediate, more raw and real to keep it really vibrant, playing with light and shadows, and backlight to make it literally shine as it moves through the cityscape
For the car, all the shots will be carefully designed to create maximum visual impact, capturing the design along with the car’s performance, which is why we want to give ourselves as many possibilities regards to footage, overshooting to make sure we really capture the car’s essence, driving performance and design in a really dynamic and premium way.
This will give us speed and flexibility, in order to capture a vast variety of images and angles that we’ll be able to use for the 70" product, where we can be more focused on the L46 itself and its range of …show more content…
In the beginning, we’ll start by being very graphical, in order to help the audience grasp the concept perfectly, as they notice the other cars and start to become suspicious and curious about what is going on. From here, we will cut to the neighbour, who acts almost like a personification of our viewers reactions, questioning ‘what’s going on here?’, then to add to his ‘nosey neighbour’ intrigue, we’ll build a 2 metre hedge, so that the viewer/neighbour assumes that if only one car can fit, then only one car will come out, which makes it all the funnier when the L46’s start to stream out of the driveway, playing with the viewers concept of reality and grabbing their attention even