Short List
Product / ServiceSONY 4K ULTRA HD TV
CategoryA10. Best Production Value
Entrant Company FINCH Sydney, AUSTRALIA
Production Company FINCH Sydney, AUSTRALIA


Name Position
Steve Coll Executive Creative Director
Jay Morgan Creative Director
Simon Fowler Copywriter
Nicole Hetherington Art Director
Melissa Petryszyn Agency Producer
Paul S Friedmann Producer
Nic Finlayson Director
Simon Njoo Editor
Song Zu Sound Studio
Simon Kane Sound Design/Arrangement
Method Studios Post Production
Mick Leslie/Roberto Kara/Hugh Faylarg Lighting
Siobhain Hayes Account Manager
Sal Boucher Production Designer
Jeremy Rouse/Crighton Bone Director Of Photography
Method Studios Editing Company
Daisy Bray ProductionManager
Executive Producers: Rob Galluzzo/Cath Anderson/Karen Bryson Other Credits

Brief Explanation

Grace is 7 years old and has never seen an ice-cream truck. Josh Millard is a mad soccer fan who has never been to a big game. Robert Turnbull is a 62 year old farmer living 800km inland who has never seen the ocean. To launch the new Sony 4K Ultra HD TV we gave these three people first time experiences they would never forget. These stories of first times are the allegory for the 4K experience. An exploration of the very idea of sensation. With extraordinary clarity, vivid colour, and remarkable sonics, the Sony Ultra HD TV is a cinematic recreation that stands for the experience of Sony.

Creative Execution

These real experiences shown were born of a nimble production process capturing momentous “first times.” Casting dictated the locations which meant scheduling and travel plans had to wait until we locked down each character. We sent street casting directors to various areas to find: A young girl who has never seen an ice-cream truck A mad soccer fan who has never been to a big game A farmer who has never seen the ocean The toughest element was not only finding these people but hiding the experiences we had in store from them. The farmer was increasingly difficult to find. We received interest from farmers who had been to the beach when they were young and didn’t remember it, some not returning to the ocean for 80 years. Others weren’t interested in seeing the ocean. The director and production team were resolute that this absolutely had to be a “first time” experience and focused on retaining as much integrity to the central idea as possible. The director and producer researched and scouted locations themselves, settling on five main areas around New South Wales and South Australia: Broken Hill, Lightning Ridge, South West Rocks, Adelaide and Sydney – the first three extremely remote and only reachable by Light Aircraft followed by long car trips. A 5-day shoot with 3 travel days was drawn out into an 8-day shoot with the crew agreeing to shoot footage on the road, travelling between locations. Three days before the shoot, torrential rain closed the roads to Lightning Ridge. The entire schedule had to be pushed back which meant losing our DOP for the back end of the shoot. We flew in another DOP from New Zealand who would continue the look and feel. Travelling on Light Planes meant we had to pare back the gear we took as well as the crew’s personal baggage. The ice-cream truck too had to be driven 1,144km from Sydney to Broken Hill. In the middle of the shoot the brief changed from shooting our soccer fan at a train station to shooting him at an airport (to better denote his journey) which meant a dexterous permissions process to use Adelaide airport. We managed to acquire permission to shoot at a Socceroos match at Olympic Stadium. To get the biggest reaction possible we kept his eyes covered until he had walked fully into the stadium, the same time as the players ran out onto the field. The whole concept behind these ads and using real people instead of actors meant we had to get everything in the first take, so we used three cameras to get close ups, wide shots and everything inbetween. With only 8-10 people behind the camera at any time, the agency weren’t able to use a video split, trusting the production crew entirely. The shoot marked one of the first commercial uses of the Sony 4K F55 camera so the ad could be mastered to screen in cinema and on the Sony 4K TV screens.