I mentioned in an earlier post that I like colors, so I’ve been looking trough my stuff to see if that’s actually true. So here is a couple of stills from some ads I’ve directed, shot by different photographers.

Lydverket 1

The first one (Lydverket) is actually shot by me. It’s a no budget “stand up” done in front of a green screen, shot on a Panasonic HVX200. It took about 30 min to shoot and another 30 to edit. I hade done a previz, so I more or less had the edit ready. I keyed the green screen in FCP which is not very smart if you want a nice smooth key, and I wasn’t planning on using it, but I liked the rough look it gave som I kept it.

Lydverket 2

The background stills are taken by various photographers at various festivals and concerts. My orignal plan was to have the stills in color and the talking head in black and white, but it turned out strange and awkward to look at when I cut from “face with background” to just “face without background”. It sort of became like jumping back and forth between color and B/W which was just annoying. So I experimented with different sepia/color wash solutions and ended up with this blue look with fake lens flare..

Olympics 2008

The next one is an ad for the Summer Olympics 2008 shot by Thomas Løkkeberg. This was the first ad I ever directed and we did it old school and shot on 16mm. I would choose 16mm over any digital format any day, I like the  dust, scratches and burns. It just feels more real. Of course, my big dream is to shoot an ad using 70mm, wich is ridiculous, but I don’t think it’s been done before. If it has, please tell me!

We were going to shoot five kids playing football (no gun involved) on a playing field during a

Mud football.

sunny day, but the weather forecast looked grim so we decided to use it instead of working against it. To make sure it rained all day we hired some FX people with rain machines to cover us in big, cold rain drops, 12 hours at end. It looks awesome, but in reality it’s a pain in the butt. The fake rain is not “warm” like regular rain. It’s icy cold. And there is a lot more of it than during a regular rain shower.

Being my first shoot, I ended up shooting way more than I needed. I had never made anything

I like rain.

as short as an ad before. This one ended up being 40 seconds long and I only used half of the shots we did. You usually never have more than a day or two when shooting an ad, so planning is important. It could very well be the most important thing you do in preproduction. That being said and if time permits it, I would rather come back with more shots than I need. Or end up using.

Continues after break.

We love rain.

The next one has a Blade Runner/C.S.I inspired look and is an ad divided into 6 parts. I co-directed with my colleague Leon and it’s shot by Tor Eigil Scheide. The “story” stretches over 3 different locations, the 2 first ones are the most interesting; “the crime scene” with the film noir, Blade Runner-inspired look and the “crime lab” with the CSI-look. This was an ad for the Norwegian

Big lights pan through the windows creating columns of light in the smokey interior.

finals of Eurovision Song Contest, or Melodi Grand Prix as we call it. Lot’s of colors, lot’s of glam and lot’s of really bad taste. But we had fun making the ads none the less. I’m a huge fan of Ridley Scotts Blade Runner and to get to play with big lights and smoke all day hardly counts as work.

Picking up evidence.

We found a great location in Oslo with a fantastic red and white checkered floor and some big great looking windows. Outside we put up a pair of lights and some guys swinging them back and forth, the effect was pretty amazing in the smoked filled room. It’s pretty dark, but still a lot of colors. Mostly dark, pink, purple, blue, red and silver and gold. The set looked quite different in regular light. Below are some more stills, I may even post the videos later on.

Look out!

Cliché.. P3 Sommer.

Lydverket (DoP Håvard Byrkjeland)

P3 Sommer, another cliché.

Hot water on cold ground makes damp. Nice.