Cannes Grand Prix Winning Film For Philips TV; Making Of & Behind The Scenes

Created for Tribal DDB, Amsterdam, Stink Digital and Director Adam Berg delivered this interactive campaign for Philips new CINEMA 21:9 TV. The cinematic proportions of the display became the theme of this piece. Adam responded with an idea for an epic frozen moment cops and robbers shootout sequence.The piece won the top honors at this years' Cannes Advertising Festival in the film category, causing slight controversy by proving that the Film Grand Prix Lion is no longer an honor reserved only for a traditional 'tv commercial.'Directed by Adam Berg of Stink, London, and edited by Paul Hardcastle of Trim, London, "Carousel" winning the Grand Prix underscores that great ideas come in all shapes, forms and media.This 2:19 film runs as an endless loop, allowing viewers to control their moves through the scene. The film also contains embedded hotspots, which, when triggered, give us a behind-the-scenes look at some of the shots.Brief Explanation (taken directly from the entry into the Cannes festival, with additional images added):Philips set out to own the idea of a cinematic viewing experience at home. From the start the strategy was to create a film that movie lovers would want to see. The film is hosted within a site that, through interaction, educates the audience about the three main features of Philips televisions – Ambilight, Cinema 21:9 and Picture Quality – and ties these features to the act of film making.So, what would movie lovers want to see? We decided on a seamless tracking shot, one long take that a film loving audience could marvel at and be fascinated by. Within the ‘housing’ of a tracking shot we inserted behind the scenes glimpses where the experts could talk about their craft and the decisions they made whilst filming the shot. The DOP on lighting, the Director on the 21:9 format and VFX supervisor shows why picture quality is so important.To allow for more interaction, we decided that a frozen time film, shot using a state of the art motion control rig, would give the audience control upon interaction allowing them to literally move the camera back and forth frame by frame. This is done intuitively through a ‘grabbing hand’ cursor when the screen is moused over.What makes this interaction really special is the interactive cinematic score. The score, composed by Michael Fakesch, was composed as a linear piece, but was then handed over to a flash music developer to carve up and distort as the user moved back and forth through time, frame by frame – all designed to pull the audience in and hold them there longer whilst they try to unravel the mystery of how the film was made. The second main element of interaction is the way the audience is able to trigger the three behind-the-scenes educational scenes from the film’s timeline.When the user clicks on the timeline, they reveal films within the film. The timeline unfolds and expands, the post production disappears, each expert walks in and the rigging reappears revealing that all along the actors were simply holding their position whilst a state of the art motion rig captured them in frozen time. All this was designed to be as seamless as possible with maximum visual reward ensuring the audience clicked all three of the hotspots.In addition to the interaction within the film, the ratio of the film itself could be changed at anytime through first person interaction. This simple, but effective comparison tool really did get across the spectacle of the new Philips 21:9 TV. The other elegantly simple piece of interaction is Ambilight on and off, in the words of the DOP – “you really miss it when it’s not there.”A final point worth noting is the dynamic title sequence. Instead of a traditional loader, we crafted a title sequence correspond to the speed of the users internet connection. The slower the connection, the longer the sequence.To experience it, go here.Speaking of, here are some photo stills of the shooting process (click to enlarge):
Credits:AGENCYTribal DDB, AmsterdamGlobal Creative Director: Neil DawsonCD: Chris BaylisSenior Project Manager: John ReardonProducer: Jeroen Jedeloo, Iwona EchtArt Director: Mariota Essery, Andrew FergusonCopywriter: Carla Madden, Chris BaylisAccount Planner: Sean ChambersTechnical Lead: Jan Willem PentermanFILMProduction Company: Stink DigitalExecutive Producer: Mark Pytlik, Daniel Bergmann, Stephen BrierleyProducer: Simon Eakhurst, Stephen BrierleyDirector: Adam BergDoP: Fredrik BackarService Facilities: Stillking, PragueStillking Line Producer: Zuzana de Pagter1st AD: Jiri OstryProduction Designer: Petr KuncCzech Production Manager : Jiri KotlasStunt Co-Ordinator: Lada Lahoda @ FilmcaEditor: Paul Hardcastle @ TrimVFX: Redrum, StockholmPost Production Supervisor: Richard LyonsMusic & Sound Design: Michael FakeschAdditional Sound Design: Tim DavisColorist: Jean-Clement Soret @ MPC LondonUK Production Manager: Jemma DanielINTERACTIVEProduction Company: Stink DigitalExecutive Producer: Mark PytlikProject Manager: Christophe TaddeiLead Developer: Ian McGregorKey Developers: Vincent Roman, Jamie Copeland, Matt SweetmanAdditional Development: Pierre L. ThiebautDesign: Eric ChiaTitle Sequence & Trailer: Maximiliano Chanan, Odin ChurchSee other 2009 Cannes Advertising Winners here.

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