SAVUSHKIN
THE MARTINI SHOT PRESENTS
DIRECTOR'S TREATMENT
by Riccardo Paoletti
by Riccardo Paoletti
Naturalness, spontaneity and taste.
These are the values that our campaign should express thanks to involving and emotional films that have a common denominator in visual freshness and, at the same time, are distinguished in directorial intentions.
Let's describe them separately for an easier understanding.
These are the values that our campaign should express thanks to involving and emotional films that have a common denominator in visual freshness and, at the same time, are distinguished in directorial intentions.
Let's describe them separately for an easier understanding.
TWOROG
This series of four commercials is some sort of brand "manifesto" and envisions an overall idea of "purity" and daily "awe". Thanks to Savushkin, nature is offering the best for people at home, to spontaneously "rejoice". These are films that evoke an emotion, creating a greater involvement in the viewer. Feelings are triggered by very cinematographic, "tactile" and suggestive images of nature, and, thanks to the product, by extemporaneous and credible interaction between family members. The visuals are modernly poetic, revealing the inner beauty of what surrounds us: it is like re-discovering the world with the Savushkin fresher eye, like the spirit of a child, always enthusiastic and eager to explore. |
In the common beginning, purity of nature is described with an "organic" style, meaning that the points of view are perspectives suggesting "closeness" and involvement with what we see; basically the opposite of a postcard.
It is like some sort of trip into the features of a countryside that is so clean and friendly to become almost "magic".
I recommend we should approach the board also by inserting some additional visual details to create a stronger "impressionistic" perception of nature: people at home should see and "sense".
It is like some sort of trip into the features of a countryside that is so clean and friendly to become almost "magic".
I recommend we should approach the board also by inserting some additional visual details to create a stronger "impressionistic" perception of nature: people at home should see and "sense".
From macro to wide shots, the camera opens up to show the wonder and the freshness of nature, moreover even if we will have music we could add some sound effects that subliminally can integrate the track: like the wind, the crickets, and so on… It all starts from a beautifully framed pack on the window ledge. Like an insect, camera will "fly" by it "entering" the dimension of nature: all shots therefore will be moving in such a way to resemble some sort of continuous gliding onto this world. We will have the illusion of a sequence thanks to smooth and "soft" cuts. We show a meadow, it is from a butterfly point of view: some flowers are big in the foreground, all the blades of grass are waving in light slow motion, some particles are floating suspended in the air, there are big trees in the far background to create depth… a bee is flying by to wipe to another shot. We are now in an aerial landscape p.o.v. Camera is moving (thanks to drone filming) like a soaring bird, we could feel the atmosphere, the wind and a subtle golden flare warming the landscape up… In the distance a herd of cows grazing, maybe some people. |
Working in the fields is sort of a "gathering": this special moment should be described by some quick but significant portraits of intense glancing faces such as proud workers smiling at us posing with satisfaction next to their accomplishment: be it a stack of hay or a truck full of milk barrels. Some details like a strong hand holding some forage or a gentle hand caressing the cow's muzzle can help augmenting the sense of participation.
In fact Savushkin workers care for what they are doing, they put "love" in their products.
In fact Savushkin workers care for what they are doing, they put "love" in their products.
By cast and styling choices, we should suggest the idea of a community with traditional values co-existing with a modern and respectful production vision.
The cows are obviously very important in this commercial, they are shown as free and roaming as possible, "happily" relaxed in their environment.
The cows are obviously very important in this commercial, they are shown as free and roaming as possible, "happily" relaxed in their environment.
Colors are intense and vivid, to suggest wholesomeness of the product. Depth of field will be "shallow" to create very suggestive and three-dimensional perceptions.
In general all nature and workers images are very evocative and describe a "precious suspended moment" to support the "soothing" message of the voice over.
Camera is moving in a descriptive way and photography is high key to highlight blue and green with a warm touch. Editing is very clean and linear, like a brush working on a canvass. The commercials should take the viewer by the hand and guide them like a child listening to a beautiful true story. Smooth and captivating.
In general all nature and workers images are very evocative and describe a "precious suspended moment" to support the "soothing" message of the voice over.
Camera is moving in a descriptive way and photography is high key to highlight blue and green with a warm touch. Editing is very clean and linear, like a brush working on a canvass. The commercials should take the viewer by the hand and guide them like a child listening to a beautiful true story. Smooth and captivating.
When it comes to the family sections the stories are declined according to the product. Here camera is more "part of the action" and like an invisible but participant witness, it is "stealing" impressions of positive daily life episodes. Camera is softly hand held, mid range lenses focus on the intimate core of the action, leaving the backgrounds slightly out of focus. We will mainly describe pleasant, natural and spontaneous moments narrated by expressions, gestures, and mainly by the beauty of details on product. Also in the family parts photography is "positive", high key and organic, with the appeal of very soft natural sources. |
As previously implied, product is actually the protagonist of this parts. It is the "excuse" for the action to happen, and therefore it is a fundamental part of the story.
Each family episode is "triggered" by the product preparation and consumption.
Each family episode is "triggered" by the product preparation and consumption.
I would like to involve the viewer into the atmospheres of these parts re-creating credible slice of life moments that anyone can identify with.
Here are some ideas and possible proposals to discuss on.
- 1The enthusiasm of the kid preparing and eating her treats with fruit under the playful supervision of the parents that bear with the "mess". In a close up a little hand picking fruits and putting them in a bowl with cheese, close up of a smiling mum caressing the kid's head, medium shot of the little girl licking cheese from her fingers, with a focus shift we see mum eating with a spoon and offering it to daddy…
- 2The complicity of the couple eating directly from a pack with yummy expressions on the faces in a carefree and intimate moment on the couch. It could be evening, they are watching a movie, camera frames them from behind. Close up on spoon sinking on cheese. Medium shot, we now realize that only the woman on the couch is eating while husband is looking at her instead of the screen, she realizes it… Close up, she opens the fridge and picks one more pack. Now they are both eating in a fun moment laughing.
ALTERNATIVE: Close up on spoon sinking on cheese. They are both eating in a fun moment. Close up on her smiling with the spoon close to her mouth, about to eat. Reverse shot, some cheese is on the husband's nose. They both laugh. - 3The inviting taste of cheese on the pan prepared like a gourmand recipe involves all family members on a Sunday breakfast: mum is teaching the little one to "prepare" it in the best way while dad is playfully helping… Sunshine is spilling through the kitchen windows, dad is setting the table, playing a game with the girl. Close up on the cheese being turned in the pan, close up on mum putting a little vegetable decoration next to the cheese on the plate, medium shot of kid serving dad who gently claps his hands complimenting her.
- 4A very busy and "clumsy" dad is successfully preparing dessert in front of his family: they are checking on him… Will he get their appreciation? Of course yes! They are rewarding him by eating with great enthusiasm… Medium shot of kid and mum watching something we do not know yet with a lot of attention and interest, close up on dad's hand with spoon mixing fruits and cheese, close up on the girl eating spoonful with big satisfaction, medium reverse shot of father smiling with relief.
In general, all vignettes should deliver the idea that with Savushkin, literally anyone can easily prepare something really tasty, good and healthy.
The "daily wonder" atmosphere of these film sections should be supported by very spontaneous and fresh acting. Cast should be appealing and in-target but more on the sympathetic than on the beauty side. The protagonists must be able to convey a feeling by their extemporaneous attitude and body language. The impression should be more of a documentation of their real lively character, rather than playing a role. Their acting abilities should be very natural and so good to be almost "invisible".
All food shots will be part of the story: shooting technique will underline the appetizing effect on the cheese but in an "enhanced beauty" realistic style, more similar to gourmet blogs' pictures rather than to tabletop studio shots. Being part of the story flow, food scenes should be like co-protagonists and not like abstract inserts. We should see our products at their best while prepared and eaten.
The film art direction in terms of setting and styling is the natural consequence of the previous parts: the location feel should be homey, cozy and light. I'd say a contemporary country Ikea–like style. The context is to be considered a suggested, lived-in ambiance, a hinted frame where the main focus is on characters, their actions and the product.
The color palette is in the product color code range with some extra pastel touches to refresh the look and make it slightly realistic and not too perfectly coordinated.
Styling is relaxed and comfy, very basic and simple as per agency briefing. Again, it should suggest a positive vibrant lifestyle, not overwhelming the expressions of the characters.
The color palette is in the product color code range with some extra pastel touches to refresh the look and make it slightly realistic and not too perfectly coordinated.
Styling is relaxed and comfy, very basic and simple as per agency briefing. Again, it should suggest a positive vibrant lifestyle, not overwhelming the expressions of the characters.
Both campaigns should have the same music soundtrack to be brand recognizable but, having two separate spirits, the melody should be arranged differently for each product line: in this specific case more in a cinematic/evocative/ open and emotional way: some sort of ballad. On the other hand, in the dessert film, music should be more "witty", minimal and "edited" to underline the "cute" moments of the family members' expressions. Being these films so rich in imagery, and being the product very present in almost all the family shots, I suggest using a very "sober" and graphically elegant pack shot to be used as a "proud" brand signature. |
DESSERT
If the previous commercials are emotional and "image" films, this one tends to be more like an elegant light comedy.
What we are describing is a general moment of "pleasure" in savoring a delicious product. Not only the "bliss" of the little protagonist but also the "wonder" and participation of all family members around her; like in a relay each character, from his/her own point of view, is involved in what is going on.
In my vision this film is some sort of ideal plan-sequence: the story will not be described in one take (for natural timing issues), but there will be cuts made to deliver the conceptual impression of a continuous description of what is going on around our heroes' table. Camera smoothly moves on tracks always with a "circular hint" around the characters. Once established the geography of the setting, with a sequence of interesting close ups we will focus on the acting of each family member. In each framing there will always be some trace of the girl's action in the foreground so to give a direction to the eye-lines of the various protagonists and recall that she is eating. I would like to avoid cutting back and forth from the family members to the girl: I feel it would sort of kill the empathic and involving climax of the positive tension. |
Moreover, as we will describe later, we have to keep in mind that not all protagonists are always looking at the girl, so it is important for the subtle irony and refinement of the acting, not to confuse the viewer.
Like in movies where we see people around a table for a poker game checking on each other, in our commercial the camera is part of the action: it will be somehow as if it was the eyes of a guest sitting with the girl and her family and observing that suspended magic moment.
Like in movies where we see people around a table for a poker game checking on each other, in our commercial the camera is part of the action: it will be somehow as if it was the eyes of a guest sitting with the girl and her family and observing that suspended magic moment.
The story is taking place outdoor on a cozy and lived–in veranda overlooking a very nice meadow.
It is a sunny day, photography is high key, softly filtered by a roofing that allows sunrays spills so to create a positive, appetizing mood, and at the same time evoke a "magic" instant.
All around there is a lot of green, they live in a home that, possibly, is well integrated with nature. The table is nicely propped with very casual elements made of natural fabrics and materials. Cast is dressed in a very "Sunday relax" casual way.
We will use medium/long lenses to focus on the protagonists expressions leaving slightly out of focus what is around them; this to enter a "emotional/mental" dimension to enhance the power of what is said by the voice over.
This film will be funny but at the same time elegant and real, never overacted or too theatrical: its modern comedy/ironic aspect is the result of various balanced factors.
First the protagonists' cool, skilful and expressive acting, second the context of the situation itself that will appear as the fortuitous combinations of various happenings.
The voice over could be describing, in a very heart-felt way, the feelings being expressed by the characters in that very moment like in a "poem". Even if actors have natural and spontaneous expressions, they will be filmed in light slow motion to expand and underline their attitude, and everything will look kind of "epic". Last but not least, the presence of the "supervising" cow in the background.
It is a sunny day, photography is high key, softly filtered by a roofing that allows sunrays spills so to create a positive, appetizing mood, and at the same time evoke a "magic" instant.
All around there is a lot of green, they live in a home that, possibly, is well integrated with nature. The table is nicely propped with very casual elements made of natural fabrics and materials. Cast is dressed in a very "Sunday relax" casual way.
We will use medium/long lenses to focus on the protagonists expressions leaving slightly out of focus what is around them; this to enter a "emotional/mental" dimension to enhance the power of what is said by the voice over.
This film will be funny but at the same time elegant and real, never overacted or too theatrical: its modern comedy/ironic aspect is the result of various balanced factors.
First the protagonists' cool, skilful and expressive acting, second the context of the situation itself that will appear as the fortuitous combinations of various happenings.
The voice over could be describing, in a very heart-felt way, the feelings being expressed by the characters in that very moment like in a "poem". Even if actors have natural and spontaneous expressions, they will be filmed in light slow motion to expand and underline their attitude, and everything will look kind of "epic". Last but not least, the presence of the "supervising" cow in the background.
It is important to remember that in this film we have the same cast of the other campaign, so their characteristics are the same. We need actors that can look very "instinctive", true and that can push their acting to the funny side in a light and controlled way.
The story takes place in the time range of the girl eating two spoons of the cottage cheese: the action is "expanded" in time thanks to a light slow motion (50 to 100 fps).
In some sort of crescendo there is a different declination of the concept of "pleasure" on each of the family members' expressions: we start with regular film speed (25 fps), the little girl is about to eat her first spoon of cheese, when the spoon enters her mouth everything slows down, we can now fully perceive her yummy attitude.
In some sort of crescendo there is a different declination of the concept of "pleasure" on each of the family members' expressions: we start with regular film speed (25 fps), the little girl is about to eat her first spoon of cheese, when the spoon enters her mouth everything slows down, we can now fully perceive her yummy attitude.
She is enjoying every single instant of what she is eating; very conscious of her privilege, she could also give a quick glance to the others as to say " Look at me, mmmh I love it... Envy me!!!" Then we see Mum, she is so happy to see her daughter eating, she is happy for her happiness, she would do anything for her, but subtly she wishes she could have one too… She faintly bites her lip... Then Dad: he is looking at Mum first and then at the girl, he is pleased for having made the right choices in life to make such great moments happen in his family, but doesn't quite get what is going on (ironically like many fathers do in their families…). So far we are drifting on an uprising sequence of positive emotions expressed with tacit controlled wit. When it comes to grandfather, we could open up to some "harder core" irony: he is excited to eat that great treat too, he mentally savors the taste with his lips, innocently dreaming of stealing a little from his granddaughter. His expression is like another child eagerly willing to eat… Grandma, who knows better, realizes it and offers him a pack with an indulgent smile. Then we end up with a memorable twist: also the cow that was grazing in the meadow close to them, is turning her attention to the girl with a cute expression, to confirm that the brand and nature are sincerely endorsing the whole process. |
Now the circle is closing back to the girl; she has finished the first spoon and is about to eat the second one, speed comes back to normal. For a moment she stops eating and looks around as if she had actually noticed to be observed by everyone. All family members turn their eyes in other directions, pretending to do something else, to escape her scolding attitude.
It is interesting to note that by shooting this way we can anyhow create footage to edit in a more classical style at regular speed, for example for shorter versions.
In our vision pack shot should be fresh and appealing, but also integrated in the context of the story as if the products range was left on the table, next to the family, still to be used. As a nice funny final touch we could see the cow mooing in the background.
It is time to be more "serious" again. We now cut back to Mum, this time she is proposing us the product and ideally opening it up to show its content. In our vision food shots here should not be too much in slow motion but still kind of "abstract" and very appetizing, like if someone spread a bunch of cherries landing on a soft layer of creamy thick cheese, slightly bouncing…
Maybe we can make this part last longer by using more than one cut in a repetitive and attention getting edit.
The final touch of her eating and looking at camera is to be considered some sort of signature: she is reminding us that this kind of treat is for everyone to indulge.
Maybe we can make this part last longer by using more than one cut in a repetitive and attention getting edit.
The final touch of her eating and looking at camera is to be considered some sort of signature: she is reminding us that this kind of treat is for everyone to indulge.
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Here's a reference for the general mood, art-direction, and overall atmosphere.
The following 2 films are here to show only the tone of what I mean by "subtle and elegant/realistic humor", but they do not refer to our storyboard content.
THANK YOU!
By Riccardo Paoletti
on May, 2020
SAVUSHKIN
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