Amira Soliman’s Post

Stuck in the desert? Luckily, you have got a Sprite and a good story to listen to! #GoodAdsMatter   Known for its memorable taglines and catchy phrases, Sprite has always had a knack for blending humour into their campaigns, and this one is no different. Savouring the summer heat, “Gyaan Gul, Refreshment Full” takes us through the quirky story of a guy who, instead of simply enjoying a cold Sprite, decides to build an entire Sprite business! Well, that is a story we can listen to while having one… it’s important to focus on what truly matters in the moment, isn’t it? With compelling acting and captivating cinematography, the ad stylistically captures the warm, parched hues of summer—building up to that unbeatable feeling of relief and freshness when you pop open a Sprite. 𝗝𝗼𝗶𝗻 𝗼𝘂𝗿 𝗰𝗼𝗺𝗺𝘂𝗻𝗶𝘁𝘆 𝗼𝗳 𝟳𝟬𝟬𝗸+ 𝗺𝗮𝗿𝗸𝗲𝘁𝗶𝗻𝗴/𝗮𝗱𝘃𝗲𝗿𝘁𝗶𝘀𝗶𝗻𝗴 𝗲𝗻𝘁𝗵𝘂𝘀𝗶𝗮𝘀𝘁𝘀 𝗮𝗻𝗱 𝗹𝗲𝗮𝗿𝗻 𝗵𝗼𝘄 𝘀𝘂𝗰𝗰𝗲𝘀𝘀𝗳𝘂𝗹 𝗮𝗱 𝗰𝗮𝗺𝗽𝗮𝗶𝗴𝗻𝘀 𝗮𝗿𝗲 𝗰𝗿𝗮𝗳𝘁𝗲𝗱! 𝗦𝗶𝗴𝗻 𝘂𝗽 𝘁𝗼 𝗼𝘂𝗿 𝟭𝟬𝟬% 𝗳𝗿𝗲𝗲, 𝗵𝗮𝗻𝗱𝗰𝗿𝗮𝗳𝘁𝗲𝗱 𝗺𝗼𝗻𝘁𝗵𝗹𝘆 𝗻𝗲𝘄𝘀𝗹𝗲𝘁𝘁𝗲𝗿 𝗵𝗲𝗿𝗲 - https://lnkd.in/dg3JEGpK Country: India Year: 2018 Brand: Sprite Agency: Ogilvy Creative Team: Sonal Dabral, Ajay Gahlaut, Krishnamani & Shailendra Mahajan Servicing Team: Kapil Arora, Amarinder Butalia, Pranab kumar & Sheena Rustagi Production Company: Corcoise Films Director: Prasoon Pandey Executive Producer: Cyrus Pagdiwala Director of Photography: Kartik vijay Production Designer: Aditya Kanwar 1st AD: Neha K Kaul Line Producer (Mumbai): geeta laxman Offline Editor: Davinder Konsal Colourist: Nicola Gasparri Music Composer: Dhruv Ghanekar DA: Ambiecka Pandit 2nd AD: Arunita Sircar Costume Stylist: Varsha Chandanani & Shilpa Makhija Makeup & Hair: Sara Capela Line Producer (Jaipur): Bhawani Singh Rathore Production Team (Jaipur): Anurag Biwal Production Team (Mumbai): Sushaant Raja & Anamika Jayendran 1st AC: RamaKrishna Focus Puller: Akbar Gaffer: Ravinder Key Grip: Rudraveer Singh Location Sound: Gaurav Gill Runner (Mumbai): Dinesh Mishra, Girish Arangali & Nazir Casting: Bhavna and Sumit Attri Post Supervisor: Ankur Bharat Patel Online Editor: Tejas Acharekar Sound Engineer: joseph george 𝗛𝗮𝗻𝗱-𝗽𝗶𝗰𝗸𝗲𝗱 𝗯𝘆 Good Ads Matter, 𝗮𝗻 𝗶𝗻𝗶𝘁𝗶𝗮𝘁𝗶𝘃𝗲 𝗯𝘆 Purpose Studios. 𝗙𝗼𝗹𝗹𝗼𝘄 𝘂𝘀 𝗳𝗼𝗿 𝗶𝗻𝘃𝗮𝗹𝘂𝗮𝗯𝗹𝗲 𝗺𝗮𝗿𝗸𝗲𝘁𝗶𝗻𝗴 𝗹𝗲𝘀𝘀𝗼𝗻𝘀 𝗲𝘃𝗲𝗿𝘆 𝗱𝗮𝘆! –––––––––––––––––––––––––––––––––––––––––––––––––– Good Ads Matter 𝗶𝘀 𝗮𝗻 𝗲𝘅𝗰𝗹𝘂𝘀𝗶𝘃𝗲 𝟭% 𝗰𝗹𝘂𝗯 𝗼𝗳 𝗮𝗹𝗹 𝘁𝗵𝗶𝗻𝗴𝘀 𝗺𝗮𝗿𝗸𝗲𝘁𝗶𝗻𝗴 𝗮𝗻𝗱 𝗮𝗱𝘃𝗲𝗿𝘁𝗶𝘀𝗶𝗻𝗴 𝗮𝗰𝗿𝗼𝘀𝘀 𝘁𝗵𝗲 𝗴𝗹𝗼𝗯𝗲 𝘄𝗵𝗲𝗿𝗲 𝘄𝗲 𝗰𝗲𝗹𝗲𝗯𝗿𝗮𝘁𝗲 𝗚𝗼𝗼𝗱 𝗔𝗱𝘀 𝗮𝗻𝗱 𝗔𝗱 𝗠𝗮𝗸𝗲𝗿𝘀 𝗮𝗹𝗶𝗸𝗲! 𝗩𝗶𝘀𝗶𝘁 𝗼𝘂𝗿 𝘄𝗲𝗯𝘀𝗶𝘁𝗲 𝗵𝗲𝗿𝗲 - https://lnkd.in/dtrkzyaa #Innovation #Creativity #DigitalMarketing #Marketing #Advertising #Branding #PurposeStudios #PursuePurpose

Spec work doesn’t always need to be tied to a client pitch. In 2019, we embarked on a passion project to flex our storytelling muscles and dive into the heart of what we love most: crafting engaging worlds with emotional depth. The result was Loop, a short film written and directed by Stuart Langfield that explores the intersection of artificial intelligence and the human experience. Released in 2020, Loop delves into timeless yet timely questions: Can human emotion be programmed? What truly defines our humanity? Even back then, Very Polite saw the immense potential of exploring the collective fears of AI and whether the depth of human emotion can be programmed, and if so, what makes humanness, human. This project was also a testament to the talent of our team. Very Polite’s Co-Founder and award-winning VP of Creative, Dylan Rekert, served as the Executive Producer and Art Director, shaping Loop’s visually stunning sci-fi universe. We can proudly say we love this film — but so did the Portland, Berlin Sci-Fi, and Brooklyn Sci-fi Film Festivals, where Loop was honoured as an Official Selection for all. Now that enough time has passed, we think it might be time to make another short. Maybe something a little more light-hearted this time? Watch the full film with the link below and let us know your thoughts. Loop: https://lnkd.in/g2RQ9z8a Credits: Writer & Director - Stuart Langfield A Very Polite Film Producer - Adam Maruniak Executive Producer - Dylan Rekert Starring: Michael J.Rogers - David Valeriia Polishchuk - Beca tatenda hatugari – Isaac Director of Photography - Cole Graham Editor - Jen Mackie Casting - Kara Eide & Kris Woznesensky Wardrobe - Yaw Obrenu Yamoah Hair & Makeup - Hyesoo Sohn Stunt Coordinator - Andrew Prest 1st AD - Anaïsa Visser 1st AC - Alex Robichaud 2nd AC - Olly B. Gaffer - Jordan Findlay Key Grip - Nelson Languedoc Swing - Jesse Goertz Grip - Yorke Graham Set Dresser - @Breanna Mcgowan Mcgowan Colourist - Sam Gilling Composer & Sound Designer - Ryland Haggis Sound Mixer - Charles Adams Sound Mix - Justin Aucoin Graphic Designer - Mark Bulford Matte Painter - Stephen Kirby

This has been a long time coming, but it’s about time I start sharing some work I’m particularly proud of—projects I either directed, directed/edited, or had the privilege to simply edit. Each was memorable to create and a total honor to collaborate on. This one was an absolute blast to shoot and wouldn’t have come together the way it did without the phenomenal contributions of Chris Mably, Kirsta Teague, and Izzy Ehrlich (to name just a few!). Their collaboration helped push what was on the page and elevate the creative beyond expectations. A huge shoutout to everyone who helped bring this to life and take it above and beyond! Credits: Client: Canadian Film Festival Festival Director: Bern Euler Board Member: Emily Pengelly Agency: Redlion President, CCO: Matt Litzinger Associate Creative Director: Pepe Bratanov Account Director: Kaitlin Doherty Solutions Director: Lauren Brown Art Director: Stephen Sandian Copywriter: Kelly O'Neill Production: Radke Executive Producer: Scott Mackenzie Line Producer: Kirsta Teague PM: Scott Rudderham PC: Helen Carroll 1st AD: Marc Guspie Director of Photography: Chris Mably Art Director: Nancy Machel Wardrobe Stylist: Sheri Monk 1st AC: Jay Vetesse 2nd AC: Alex Dametto VTR: Nick Verlaine DIT: Randy Perry Continuity: Nora MacPhail Wardrobe Asst: Lindsay Van Dyke Make Up: Raquel Attunes Make Up Asst: Cathy Ann Cuthbert Gaffer: George Petras Best Boy: Desiree Lidon Key Grip: Derek Teakle Best Boy: Adrian Hodgson Props: Deb Topping Set Dec: Marrianne Newman Set Dec: Brendan Fernie Prod Asst: Chris Brown Prod Asst: Shjaane Glover Prod Asst: Pete McGlogan Prod Asst: Dave Goldberg Prod Asst: annnah MacCrimmon Editorial: Rooster Post Editor: Izzy Ehrlich Executive Producer: Yumi Suyama Edit Assistants: Craig Jay & Taylor McWade Finishing House: The Vanity Colourist: Andrew Exworth Audio: SNDRWX ___________ #commercialdirector #FilmDirector #freelancedirector #DirectorsLife #director #Advertising #CommercialProduction #ContentCreation #cinematic

If it isn’t clear enough already—this ad is for Sony. #GoodAdsMatter A story woven around a struggling writer awaiting his big break—this film is brought to you by Sony, featuring Sony. As the plot comes full circle, the one thing that remains constant amid all the conundrum is “Sony” through and through. Tapping into the entertainment tech category, Sony makes an indisputable case by plugging their brand in every line of the voiceover. With a crisp narrative, not only does this ad emphasise on the brand’s name over and over again but also builds an engaging story otherwise. This 60-second long ad, is a product integration that aids in every stage of the filmmaking process, making sure you don’t miss it even if you try to! 𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀' 𝗥𝗼𝘂𝗻𝗱𝘁𝗮𝗯𝗹𝗲 𝗼𝘂𝘁 𝗻𝗼𝘄! 𝗪𝗮𝘁𝗰𝗵 𝗶𝘁 𝗵𝗲𝗿𝗲: https://lnkd.in/daJRTa4H Country: USA Year: 2014 Brand: Sony Agency: Wieden + Kennedy Producer: Jessica Staples Executive Creative Directors: Joe Staples & Mark Fitzloff Creative Directors: Chris Groom & Stuart Brown Copywriter: Derek Szynal Art Director: Devin Gillespie Social Strategy: Josie Goldberg Strategic Planning: Anibal Casso Media/Comms Planning: Kelly Muller Account Team: Trish Adams, Diana Gonzalez Cash & Marcelina Ward Business Affairs: Cindy Lewellen & Karen Murillo Project Management: Shannon Hutchinson Head of Production: Ben Grylewicz Production Company: Anonymous Content / Somesuch Director: Daniel Wolfe Executive Producers: Jeff Baron & Tim Nash DOP: Robbie Ryan Line Producer: Caroline Pham Edit Companies: COSMOSTREET Editorial & Trim Editing Executive Post Producer: Jaclyn Paris Post Producer: Marie Mangahas Editor: Tom Lindsay VFX: The Mill Executive VFX Producer: Sue Troyan VFX Producer: Kait Boehm Lead Flame Artist: Billy Higgins Flame Asst: Steve Cokonis & Anthony Petitti Smoke Artist: Scott Johnson Motion Graphics: Greg Park & Clare Carrellas Music Company: Walker Executive Producer: Sara Matarazzo Sound Company: Barking Owl Sound Designer: Michael Anastasi Executive Producer: Kelly Bayett Song: “Central Services/The Office” (Original Recording) Mixing: Lime Studios Mixer: Rohan Young Producer: Susie Boyajan 𝗛𝗮𝗻𝗱-𝗽𝗶𝗰𝗸𝗲𝗱 𝗯𝘆 Good Ads Matter, 𝗮𝗻 𝗶𝗻𝗶𝘁𝗶𝗮𝘁𝗶𝘃𝗲 𝗯𝘆 Purpose Studios. 𝗙𝗼𝗹𝗹𝗼𝘄 𝘂𝘀 𝗳𝗼𝗿 𝗶𝗻𝘃𝗮𝗹𝘂𝗮𝗯𝗹𝗲 𝗺𝗮𝗿𝗸𝗲𝘁𝗶𝗻𝗴 𝗹𝗲𝘀𝘀𝗼𝗻𝘀 𝗲𝘃𝗲𝗿𝘆 𝗱𝗮𝘆! ––––––––––––––––––––– 𝗝𝗼𝗶𝗻 𝗼𝘂𝗿 𝗰𝗼𝗺𝗺𝘂𝗻𝗶𝘁𝘆 𝗼𝗳 𝟲𝟬𝟬𝗸+ 𝗺𝗮𝗿𝗸𝗲𝘁𝗶𝗻𝗴/𝗮𝗱𝘃𝗲𝗿𝘁𝗶𝘀𝗶𝗻𝗴 𝗲𝗻𝘁𝗵𝘂𝘀𝗶𝗮𝘀𝘁𝘀 𝗮𝗻𝗱 𝗹𝗲𝗮𝗿𝗻 𝗵𝗼𝘄 𝘀𝘂𝗰𝗰𝗲𝘀𝘀𝗳𝘂𝗹 𝗮𝗱 𝗰𝗮𝗺𝗽𝗮𝗶𝗴𝗻𝘀 𝗮𝗿𝗲 𝗰𝗿𝗮𝗳𝘁𝗲𝗱! 𝗦𝗶𝗴𝗻 𝘂𝗽 𝘁𝗼 𝗼𝘂𝗿 𝟭𝟬𝟬% 𝗳𝗿𝗲𝗲, 𝗵𝗮𝗻𝗱𝗰𝗿𝗮𝗳𝘁𝗲𝗱 𝗺𝗼𝗻𝘁𝗵𝗹𝘆 𝗻𝗲𝘄𝘀𝗹𝗲𝘁𝘁𝗲𝗿 𝗵𝗲𝗿𝗲 -  https://lnkd.in/dg3JEGpK #GoodAdsMatterRoundtableSeason1 #Creativity #Marketing #Advertising #PurposeStudios #PursuePurpose

Here’s a deep dive into the virtual production process for the amazing Gray Whale Gin spots we highlighted last week.

You’ve gotta let the work speak for itself… In the visual industry, the end product is meant to be judged by the client, their audience, and everyone who engages with it. We’re not the ones who get to decide whether or not we delivered. Here are the non-negotiables to bring to any campaign you’re working on: 1️⃣ Thorough research and discovery: Work closely with clients to understand the goal and mission of each project and who it's meant to resonate with. This lays the foundation for everything that follows. 2️⃣  Curate the perfect creative team: Handpick the best directors, creative directors, art directors, production designers, DOPs, editors, VFX teams, sound designers, and colorists. By matching the right people to the right project, you’ll ensure the work is executed at the highest level by people who understand the target audience. 3️⃣ Focus on the target audience's generation: If you’re creating content for a 20 to 30-year-old audience, bring in the best creators from that age group who can intuitively understand their culture, needs, wants, and values. At the end of the day, our job as a creative studio is to curate the best of the best teams to execute on our clients' goals. Put the right people forward, let them do what they do best, and trust that the work will speak for itself.

In the world of film, not all directors are cut from the same cloth. Each brings a unique vision and approach to the screen. 🎬✨ Photographer>Directors: With a keen eye for composition and light, these directors are masters of the visual, often leaving their DPs feeling the heat to capture that perfect shot. 📸 Advertising>Directors: Born from the fast-paced world of advertising, they’re the kings of quick fixes and guerrilla tactics, leading a floor crew that’s always on their toes, ready to bring creative solutions to life. 🏃💡 Writer>Directors: They navigate the depths of story and character with finesse, relying on visual experts to bring this to life. Weaving a powerful narrative that can leave audiences in awe. 📖🌟 Art dept>Directors: Observers of life, they blend narrative with aesthetics, crafting stories as rich and detailed as those they overhear in their favorite coffee shop. ☕👁️ Crew >Directors: Climbing the ladder from the ground up, these directors know the ins and outs of every role, adept at troubleshooting and deeply committed to the craft. 🛠️🧗 Producer>Directors: Walking a tightrope between creativity and budget, they seek the delicate balance where art meets commerce, a challenge that’s as thrilling as it is precarious. 💼🎭 Understanding a Director’s background can be key to supporting their vision. Remember, they’re guiding you to find your place in the story. 🌐🤝 #FilmDirectors #CinemaArt #BehindTheScenes #DirectingCraft #Storytelling

Christina Humphries collaborates with Angry Butterfly and director Tristan Barrocks of Undivided for Jane/Finch Centre. “Write Us Off” is an impactful new campaign that looks at a community long written off and invites businesses to “write off” the community again, this time through bias training which supports the community and comes with a tax receipt.⁣ ⁣ __⁣ ⁣ ⁣ Jane/Finch Community and Family Centre “Write Us Off”⁣ ⁣ Editorial: Rooster Post Production⁣ Editor: Christina Humphries  Assistant Editor: Lenka Gmitrova Producer: Nicole Stamford⁣ Executive Producer: Melissa Kahn⁣ ⁣ Production: Undivided Creative Inc  Director: Tristan Barrocks DOP: Angel Navarro III  Executive Producer: Barclay J. Maude Executive Producer: Scott Houghton ⁣ Agency: Angry Butterfly CCO: Erin Kawalecki VP Head Of Production: Hanna Bratt ACD & Art Director: Chenice Piercy ACD & Copywriter: Ryan Chiasson ⁣ Colour & VFX / Finishing : Fort York VFX  Colourist: Jason Zukowski  Lead VFX Artist: Melissa Vasiliev  Flame Artists: Luke White, James Marin, Alex Boothby⁣ Motion Graphics: Serina Choi⁣ Executive Producer: Cathy Jefferies, PMP ⁣ Audio: TA2 Sound + Music 

Brand Film for Innisfree이니스프리, introducing their stunning new face – Wamiqa Gabbi When team IF approached us to create a brand film for Innisfree, we were presented with an exciting yet unique challenge. The brand’s identity, deeply rooted in nature and organic elements, needed to be vividly reflected in the film. However, two significant constraints required innovative solutions: Budget Constraints: Building a set that authentically captured the essence of nature would have been prohibitively expensive. Time Limitations: We had only 8 hours to shoot the brand film, stills, and social media content with the celebrity including (HMW changes). This is where Abhishek Sharma (Writer - Director)'s creativity came to life. He conceptualized a brilliant approach to integrate nature seamlessly into the campaign using animations and VFX. This not only preserved the brand's essence but also efficiently addressed both challenges - keeping production costs in check and ensuring we met the tight schedule. The result? A captivating film and content suite that beautifully embodied Innisfree's commitment to nature while introducing the absolute gorgeous Wamiqa Gabbi as the new face of the brand. Extremely grateful for Mini Sood Banerjee & team for their constant belief, support & creative freedom. Writer - Director : Abhishek Sharma Creative & Executive Producer : Het Shah Creative Agency & Production House : Social Whistles Studio

How the Long Take Uses Creative Camera Work to Control the Audience https://ift.tt/qX9zCKa You’ve had that moment before. You’re sitting there on the couch, watching a scene that feels like it’s been going on a few minutes when the realization hits you. “Wait, has this all been one continuous shot?” You rewind just to be sure and watch the scene again, and sure enough, it’s all one take. You’re blown away. And you should be because correctly executing them in movies is extremely difficult. Everything has to go right, and I mean everything. So why do directors choose to utilize them? And better yet, why would anyone be crazy enough to film a project as one continuous shot movie (also known as a oner film)? We’ll answer those questions and more as we do a deep dive on these shots, discuss their utility and take a look at some memorable examples. Long Take Definition A long take is a shot that lasts much longer than the standard editing pace of the movie itself or movies at large. Long often takes – but not always – require elaborate camera movement and blocking. When To use a Long Take The long take is an excruciatingly tough trick to pull off, but when done correctly, it provides the director and their film with a signature moment; one that will be talked about, dissected and mimicked. They allow a director not only to show how creative they can be but also indicates a level of control and confidence that likely isn’t limited to the take. Regarding the tangible impact on a story, a take can also provide a certain kind of continuity to a scene that might not otherwise exist. Continuous shots can also create a greater sense of scope, drama, tension, and immediacy for the viewer. There are different kinds, but in general, we as the audience feel much more like we’re in the moment with the characters during a long take than in a traditionally-shot scene. We move through space and time with them, and the result is often something extraordinary. Examples of Long Takes Our first example hails from Atonement. In this scene, the camera travels a great distance, and in doing so, it allows the audience to get a real sense of the scope and scale of a war-torn Dunkirk. We see just how many soldiers there are and see what the minutiae of war are like. There’s carnage, sure, but there’s also boredom as a soldier uses a pommel horse, as well as joy, sadness, anger, and exhaustion. We get the full gamut of the human condition in this sequence, and that’s only made possible by the continuous shot. This is a great look at how modern filmmaking works. But what about one rooted in the past? I love the opening to Orsen Welles's Touch of Evil. This three minute and thirty second opening shot takes us through an intense journey as a bomb is planted on a car. We are there as the literal ticking clock takes us on a journey through the crowded streets. This not only builds tension, but it grabs the audience right away and thrusts us into the...