You never know how big pre-work a short commercial needs. Let's take a look at this amazing process!
Have you ever watched "Charlie and the Chocolate Factory" ? I believe that the chocolate waterfall and river must be impressive in your heart. And you must want to munch those delicious grasses and sweet berries. In this film, all the scenes are made as real as possible.
Artificial grass laid upon blocks of polystyrene foam that formed the shape of the landscape. For the chocolate river, McDowell insisted on having the river look edible. According to Tim Burton, "the important thing for me was that we wanted to give the chocolate river a really chocolatey feel, give it a weight, not just brown water. That's why we tried to use a real chocolate substitute, to give it a movement and texture." Joss Williams oversaw the creation of a faux chocolate concoction, taking months to create a non-toxic edible substance with the right consistency. The final mixture, developed by a UK-based chemical company called Vickers, was a mix of water, food grade biocide, and hydroxyethyl cellulose. 192,000 gallons of faux chocolate filled the river, while 30,000 gallons of the same material made up the chocolate waterfall.
In "Charlie and the Chocolate Factory" , forced perspective techniques, oversized props and scale models were used to avoid computer-generated imagery (CGI) wherever possible. In this commercial, all the plants and flowers are real. They made a second "The Wonderful Wizard of Oz".
Only 30 seconds, you never know how big pre-work a short commercial needs. Let's take a look of this stunning work!
Interview with Paweł Łukomski
1. How did you build the scene?
My set designer was Joanna Hrisulidu (@hrisulidu). I wanted an over the top, jungle-like garden in a very stylized space. So she came up with a very smart space. We used 3 walls and a table that we could dissasemble to get the camera closer when we needed to
2. Are plants all real?
Yes everything in the shot is real. This was a problem because we used a lot of powerful tungsten lights - I don’t remember the exact light setup we used but at one point we had a 10k lamp next to our plants so we had to shoot quick not to boil them
3. How long did your partners take to built this scene?
Oh I forgot to add that the set was build in 1,5 day so quite fast.
4. How did you direct the camera work when you shooted?
I often face being a dir and dp in one :) this has it’s challenges and can be a lot of fun. Fortunately we had done a lot of prep before the shot so we could focus mainly on the execution on the shotlist.
5. What is the style of this image? How do you evaluate the image style in this commercial?
The style was „Alice in wonderland” meets „Microcosmos”. There was magic combined with Krystyna Czubowna’s voice (famous polish narrator). I wanted it to be big, to see plants from a different perspective. Alomst like in a fairy tale at times. Of course we had a limited airtime 30 sec so there is only so much you can show and tell in this amout of time
For the magic look we used a lot of diffusion and installed visps of smoke in our table - we also used special haze to make the room feel „old”
6. How do you feel when using Vespid primes to shoot?
I’ve become very familiar with Vespid Primes. I found that the look they gave me here was something that I felt complimented the story. They are sooth and soft but not to soft that they can present this „fairy tale” look when diffused a bit. I like the bokhe a lot. Color rendition is very good especially for a person like me who likes to tweak things in post - Even if I end up with a lots of nodes in DaVinci image still holds up. They are light and small and that helped me to get close to the subject… they have a very good close focus - I was planning to use a lot of diopters but ended up using it only once or twice maybe. I like those lenses because they are simply so versitale.
To create such a wonderful work, only Vespid can do it. Nimble and agile like a wasp. Vespid Primes enables users work fast whether individually or in groups.
In this set of compact “Vespid”, there are eight lenses, they are 16mm, 25mm, 35mm, 50mm, 75mm, 90mm(macro) ,100mm and 125mm. From 16mm to 125mm, Vespid Prime cover the most frequently used focal lengths and deliver more possibilities. With original mount or DZOFILM Octopus adapters, these lenses can be adapted to PL/EF/LPL/E/L/RF/X mounts cinema cameras.
Higher resolution, clean as always
Precise colour reproduction, as perceived in human eyes
With APO Design and ED lenses, excellent control of dispersion
Negligible breathing effect, creating an immersive scene
With compatible mechanical design, nimble and agile like a vespid
Wider coverage, shallower depth of field, promise users a bright future
Click the link to follow Paweł Łukomski: https://www.instagram.com/p/CbHmdrLjd45/
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