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Meet the boss, a high flying entrepreneur. By day he runs a brewery, by night a bra emporium, and he’s living the dream.
Right from the start this film needed to feel cool, slick and cinematic. We needed to tell the story of our hero always being on the move and being the center of attention. Above all else, he had to be a very likeable boss, running all parts of his life smoothly, almost Bond-like. This was achieved by shooting with anamorphic lenses, to master the required beautiful, cinematic look.
The similarities between the Cobra and Braco scenes, had to connect from shot to shot, in order to show how seamlessly our hero worked. This is most prominent in the opening sequence when he pulls up to work in his classic car by day, and again by night, overseeing his work with complete ease. The edit was also essential, cutting between our hero’s daily work exploits and then his relaxation time, proving his smooth grasp over all aspects of his life, and progressing the story with a cool, elegant rhythm.
nineteentwenty worked closely with dir. Mike Mcguire and prd. designer Alexis Ross on set, focusing on what could be done in camera, and what was needed to be enhanced in post. The main scenes that were post heavy were the first brewery and bra factory interiors. A decision was made to handle these as set extensions, with half the set being built and the rest being developed as a digital matte painting expanding the room to give the feel of large spacious interiors. These were prevised and developed throughout the shoot, so we could mix and overlay there and then on set to see a mock up of the end result. The exteriors had city scapes composited into them to give the impression our hero’s cool and collected work is at the heart of a modern metropolis.
Every possible little enhancement was pinpointed in post. Whether it be a simple vignette, colour enhancement or just a striking anamorphic lens flare; these final touches gives it the unique cinematic feel that hopefully makes it stand out on TV, and leaves it lingering in the minds of the viewer.
VFX Supervisor: Chrys Aldred
VFX Producer: Scott Griffin
Nuke VFX Team: Graeme Eglin
Director: Mike Maguire
Production Company: Biscuit Filmworks
Producer: Emma Butterworth
Production Manager: Katy Smith
Art Director: Clement Woodward
Agency Producer: Jenny O’Connell
Director of Photography: Daniel Landin
Production Designer: Alexis Ross
Offline Edit Co: Final Cut
Offline Editor: Rick Russell
DMP Aritst: Levii Peterffy
Copywriter: Richard Connell
Colourist: Jean-Clement Soret at MPC