LIFE IS NOT A MARATHON

Short List
TitleLIFE IS NOT A MARATHON
BrandRECRUIT HOLDINGS
Product / ServiceRECRUIT POINT
CategoryA03. Achievement in Production
EntrantPADDLE Tokyo, JAPAN
Entrant Company PADDLE Tokyo, JAPAN
Advertising Agency DENTSU Tokyo, JAPAN
Production Company PADDLE Tokyo, JAPAN

Credits

Name Company Position
Yuya Furukawa Dentsu Inc. Executive Creative Director
Kota Tohata Dentsu Inc. Creativedirector/Copywriter/Planner
Hiroshi Ichikura Dentsu Inc. Copywriter
Miwako Hosokawa Dentsu Inc. Copywriter
Masatoshi Kurita Dentsu Inc. Copywriter/Planner
Ryosuke Miyashita Dentsu Inc. Art Director
Mayu Taguchi Dentsu Inc. Art Director
Hikaru Ikeuchi Dentsu Inc. Producer
Akiyo Ogawa Dentsu Inc. Producer
Junichi Kawahara Dentsu Inc. Accout Executive
Kohei Yamamoto Dentsu Inc. Accout Executive
Tsugihisa Tanaka VOYAGER Director
Kenichi Sumide Second Director
Toyotarou Shigemori GLASSLOFT Photographer
Kazuta Yanagihara Paddle Inc. Productionproducer
Yoshihiro Matsuguma Paddle Inc. Productionproducer
Hiroaki Tamura Paddle Inc. Productionproducer
Yoshiro Tanioka Paddle Inc. Productionmanager
Shinta Shibayama Paddle Inc. Productionmanager
Yoko Iwaasa Paddle Inc. Productionmanager
Recruit Communications Co., Ltd Additional company

Brief Explanation

In Japan, people have long believed that having good life is about studying hard, getting into the best schools, and working for the best companies to have stable income. They said life is a marathon, competing for speed and distance toward one common goal.Today with massive wave of globalization and rapidly changing society, there may not be one common goal for everybody. They have to think on their own and find out their own objectives.Let's be creative, think out of the boxes, and create new orders. This is a big visual message from Recruit, the leading lifestyle company to all the Japanese people.

Creative Execution

We only had 20 days for prep and shoot. Multiple locations were spread out to entire Kanto region with a total distance of over 600 km. Since the director and DOP wanted a dramatic back-lit look for most of the shots and only having 5 to 6 hours of daylight due to the winter season, the shooting schedule had to be calculated meticulously. Time was crucial and the icy cold weather wasn’t helping. Skydiving shots were done in -30 degrees aiming for the best flare. Sometimes we were limited to only taking 4 shots in a day for aiming for the best light. It was like re-building a puzzle after encountering with bad weather conditions. Director insisted in taking all shots on camera without any compositing in post to achieve a believable look. Due to this, gathering and controlling many extras in strict time schedule was a necessity. We had a big crew equipped with crane and camera car plus 1000 runners and 700 cheering crowd which needed to be controlled and positioned with the best lighting in limited approved time. In these rural locations, gathering required number of extras was also an issue. So we had to transport additional 800 extras from Tokyo with 30 buses traveling for over 350km. In order to achieve the strict schedule, AD the production team went through thorough rehearsals managing the big crew to travel and shoot in best lights.