Mischa Rozema directs new global TNT commercial
PostPanic and Rozema tackle new ambitious TNT campaign created by Etcetera
01 OCTOBER 2014, AMSTERDAM, THE NETHERLANDS. SEPTEMBER 2014
Summary
Amsterdam agency Etcetera turn to PostPanic director Mischa Rozema to take on the challenge of their hugely ambitious Human Network script. Central to the integrated global campaign for TNT, is a stunning 50 second television spot highlighting the delivery giant's far-reaching network of dedicated couriers.Amsterdam agency Etcetera turned to PostPanic director Mischa Rozema to take on the challenge of their hugely ambitious Human Network script. Central to the integrated global campaign for TNT, is a stunning 50 second television spot highlighting the delivery giant's far-reaching network of dedicated couriers. With an accompanying tvc cutdown of 30 seconds, personalised video for TNT's existing clientbase and several key print visuals, PostPanic took on producing the main bulk of the integrated campaign followed by localising to 32 countries.
The hugely ambitious script appealed to director Rozema's taste for taking on the epic, "There was just no way to turn a script like that down," says Rozema "Even though it had ‘IMPOSSIBLE’ written all over it. The complexity, the size, the craziness. Maybe that’s what really pulled me in to this. I just loved stepping into the unknown and finding out how we could make this work."
Peter van Leeuwen, Creative Director, Etcetera/DDB, comments: “Most of B2B delivery campaigns are all about scattered images of quick deals, planes, handshakes, ships, cars and traffic, bringing a parcel from A to B. We wanted to show the real people behind this business and the “orange” TNT fuel running through their veins in an epic and memorable way.”
For Rozema, the biggest challenge was how to avoid the vfx becoming the focus of the tvc. "PostPanic is set up differently then most production companies because we have our own in-house post production team which works instinctively with the directors. The temptation would have been to apply all that specialised knowledge and make this into a vfx fest but actually we threw out a lot of vfx when we started the project. We stepped into this trying to create as much ‘in camera’ as we could." This meant the production company had to set up major shoots in 5 locations across Europe ranging from live action drone-powered aerial mountain road scenes to complicated motion-capture acrobatic performances. Rozema, "We decided to really push what could be achieved in camera by actually creating a full size human truck on the set. It worked by having a huge, truck-sized, metal rig that could be pulled by an actual truck. We then filled it with an incredible Czech stunt team (famous for big Hollywood blockbusters) that had been rehearsing for weeks and gave the whole project a realistic approach. To be honest in the end, we used more VFX in the backgrounds (creating a non-existing airport, alpine road-tunnels and cities) than on the actual vehicles where you’d expect them."
Head of Post and Creative Partner at PostPanic, Ivor Goldberg explains further, "Of all the challenges on this project (which were numerous..... great to tackle, but numerous) 2 were clear winners. First was creating CG humans to go along side real humans in the same shot. Everyone is an expert and a critic on what a human should look like. There is nowhere to hide. Secondly it was always the intention to shoot as much as possible in camera (mostly because of the problems of the first challenge). Logistically this became undo-able. In the end we had to shoot not only multiple takes but also multiple takes in multiple locations and stitch these all together to create one good image that we could then embellish with CG. Typically there could be up to 10 elements shot at 3 or 4 different locations."
Executive Producer, Annejes van Liempd, explains further, "Our choice of using real people for this rather than CG humans dictated the nature of the shoot making it an extremely technical one both in pre-production and during actual filming. We had so many variables to work with which had to work together and fit perfectly for multiple passes on most of the shots. This resulted in agonisingly time-consuming days on almost two weeks away filming but the stunt team kept us all laughing. We really enjoyed working with the whole Czech crew (via Savage) - they were amazing."
Once filming was completed, Amsterdam returned to being the centre of activity with post production getting underway back at PostPanic. The post team at PostPanic is unusual by industry standards as it is a completely in-house resource working exclusively for directors on the PostPanic roster - there is no external post-production work ever taken on. Since its establishment 17 years ago, the team has evolved to work organically with the directors, involved at each stage of production and with each CG artist encouraged to add their own distinctive artistic signature to their work. This is clearly reflected in the quality of the work generated by them.
Ivor Goldberg "I take enormous pride in this team here at PostPanic. They are true all-round artists. In an industry where pipelines and workflows can be so rigid and constricting I love that they, as individuals, can not only undertake such a wide variety of disciplines from matte painting to animating and compositing but still get genuine pleasure from the creative and technical process. It is this which I feel is quite rare in the industry and really allows us to produce such quality in such short turnarounds without people running out the door in terror never to be seen again."
For PostPanic therefore, satisfaction lies in having achievied the impossible. Jules Tervoort, Executive Producer and Managing Director, 'It was instantly clear to us, that both Etcetera and its client TNT were pursuing something unique here. Because of the concept, scale and size of the project, this was a highly ambitious production from the get-go. Apart form the creative challenges, the compete production from job-awarded to delivery was no longer than 3 months. With the large amount of shooting locations, people involved, various conditions, and VFX, this would only have been possible if all parties shared the same vision. Luckily they did and I'm glad PostPanic was part of this unique commercial.'
Behind The Scenes film available here: vimeo.com/107263219
Credits:
TNT “THE PEOPLE NETWORK”
Agency: Etcetera
Concept : Peter van Leeuwen, Markus Ravenhorst
Art Director : Peter van Leeuwen
Copywriter : Markus Ravenhorst
TV-producer agency : Robert Roosenstein
Date shoot : July 2014
Location/Studio : Prague, Austria & Amsterdam
Film- / Video-Material : digital (Epic Red Dragon)
Production Company : PostPanic
Director : Mischa Rozema
Executive Producers : Jules Tervoort, Annejes van Liempd
Post Production : PostPanic
Head of PostProduction : Ivor Goldberg
Post Supervisors On Set : Chris Staves, Matthijs Joor
Producer (Liege) : Liene Berina
Production Assistant : Kristian Stoykov
Line Production Company : Savage (Prague)
Executive Producer : Klara Kralickova
Line Producer : Vojta Ruzicka
Art Direction : David Baxa
Stunt Team : Filmka Stunt Team, Czech Republic
Stunt Coordinator : Jiri First
Making-of On Set : Jan Svejkar
Director Of Photography: Jon Gaute Espevold
Final Grading : Scott Harris @ Glassworks
Off-Line Edit : PostPanic
Editor Off-Line : Benjamin Putland
Music & Sound Design : Pivot Audio / Guy Amitai
Sound Mix : Lawrence Horne
Print Stills
Photographer : Jiri Svorc
Image manipulator : Nick Strong
Post Production Team @ PostPanic
VFX Supervisors : Ivor Goldberg, Chris Staves
Post-Production Co-ordinator : Liene Berina
3D & VFX Artists :
Matthijs Joor
Jeroen Aerts
Chris Staves
Marti Pujol
Dimos Hadjisavvas
Juri Agostinelli
Dieuwer Feldbrugge
Guido Ekker (Assistant)
Francois Heysen (Assistant)
2D/3D Artists :
Doma Harkai
Erwin vd IJssel
Stefano Peron
Donat Aron Ertsey
Hubert Heutinck (Assistant)
Matte Painting : Marco Iozzi, Marti Pujol
Tracking & Match-Moving : Giso Spijkerman
Additional VFX support :
Andrea Staiano
Thiago Porto
Dennis Volkerts
Glassworks
Rotoscoping : Dot VFX, Roto Art Studios
Motion Capture : Stepan Kment, Bohemia Interactive a.s.
Cast
Marek Zelinka : TNT Driver
Daan Daams : Winking TNT Person
Sabina Feldmanova : Female Customer
Petr Kocourek : Coffee-drinking Truck Driver
Mikulas Matous : Kid 1
Matej Splichal : Kid 2
Stunt people:
1 Adoree Johnson 2 Arnošt Jan 3 Astl Jan 4 Bílek David 5 Blahák Jan 6 Bomer Jirka 7 Brichcín Jan 8 Brichcín Marek 9 Brichcín Matouš 10 Brodil Radek 11 Drdácká Zuzka 12 Dudek Jindřich 13 Ďuricová Kamila 14 Firt Jirka 15 Honzíková Markéta 16 Horký Jiří 17 Hul Nazar 18 Jegorovová Viktorka 19 Jun Wan Kim 20 Klaus Jindřich 21 Komrsková Aneta 22 Lipitkovský Dimo 23 Loukota Jan 24 Lovětínská Dáša 25 Navrátil Michal 26 Navrátil Miroslav 27 Pelc Martin 28 Ptáčková Petra 29 Rydval Tomáš 30 Šalamounová Míša 31 Salašová-Dvorská Michaela 32 Šourek Dominik 33 Svitek Marek 34 Szeleszán Daniel 35 Vass Robert 36 Veselý Zdeněk 37 Vostrovský Jiří
Quotes
" "There was just no way to turn a script like that down. Even though it had ‘IMPOSSIBLE’ written all over it. The complexity, the size, the craziness. Maybe that’s what really pulled me in to this. I just loved stepping into the unknown and finding out how we could make this work."" Mischa Rozema, Director (on taking on the ambitious script)
"PostPanic is set up differently then most production companies because we have our own in-house post production team which works instinctively with the directors. The temptation would have been to apply all that specialised knowledge and make this into a vfx fest but actually we threw out a lot of vfx when we started the project. We stepped into this trying to create as much ‘in camera’ as we could." Mischa Rozema, Director (on avoiding vfx becoming the focus)
""We decided to really push what could be achieved in camera by actually creating a full size human truck on the set. It worked by having a huge, truck-sized, metal rig that could be pulled by an actual truck. We then filled it with an incredible stunt team that had been rehearing for weeks and gave the whole project a realistic approach. To be honest in the end, we used more VFX in the backgrounds (creating a non-existing airport, alpine road-tunnels and cities) than on the actual vehicles where you’d expect them." " Mischa Rozema, Director (on creating the human truck)
"Of all the challenges on this project (which were numerous..... great to tackle, but numerous) 2 were clear winners. First was creating CG humans to go along side real humans in the same shot. Everyone is an expert and a critic on what a human should look like. There is nowhere to hide. Secondly it was always the intention to shoot as much as possible in camera (mostly because of the problems of the first challenge). Logistically this became undo-able. In the end we had to shoot not only multiple takes but also multiple takes in multiple locations and stitch these all together to create one good image that we could then embellish with CG. Typically there could be up to 10 elements shot at 3 or 4 different locations."" Ivor Goldberg, Head of Post and Creative Partner (on the VFX challenges)
"I take enormous pride in this team here at PostPanic. They are true all-round artists. In an industry where pipelines and workflows can be so rigid and constricting I love that they, as individuals, can not only undertake such a wide variety of disciplines from matte painting to animating and compositing but still get genuine pleasure from the creative and technical process. It is this which I feel is quite rare in the industry and really allows us to produce such quality in such short turnarounds without people running out the door in terror never to be seen again." Ivor Goldberg, Head of Post and Creative Partner (on why PostPanic's post team works differently)
"Because of the concept, scale and size of the project, this was a highly ambitious production from the get-go. Apart form the creative challenges, the complete production from job-awarded to delivery was no longer than 3 months. With the large amount of shooting locations, people involved, various conditions, and VFX, this could only be possible if all parties shared the same vision. It was instantly clear to us, that both the Etcetera and its client TNT were pursuing something unique here and I'm glad PostPanic could be part of it." Jules Tervoort, Executive Producer (on the scale of the project)
"Our choice of using real people for this rather than CG humans dictated the nature of the shoot making it an extremely technical one both in pre-production and during actual filming. We had so many variables to work with which had to work together and fit perfectly for multiple passes on most of the shots. This resulted in agonisingly time-consuming days on almost two weeks away filming but the the stunt team kept us all laughing. We really enjoyed working with the whole Czech crew (via Savage) - they were amazing." Annejes van Liempd, Executive Producer (on the technical shoot)
Images
About PostPanic
PostPanic is an internationally awarded and respected Dutch film company.
PostPanic is made up of three divisions: PostPanic (commercial film), PanicProgram (emerging commercial talent) and PostPanic Pictures (long format film).
Founded in 1997, PostPanic closely guards its unique creative attitude and continues to produce memorable visual work for the advertising, entertainment, broadcast, retail and music industries worldwide.
The Amsterdam home is made up of a permanent international team composed of producers, directors and creatives specializing in live action, motion graphics/animation, VFX and installations. PostPanic also host and curate the popular bi-annual inspiration evenings, The PanicRoom (an invite-only night for the Amsterdam creative community).