FOREVER MORE

TitleFOREVER MORE
BrandLIWAYWAY MARKETING CORPORATION
Product / ServiceOISHI PRAWN CRACKERS
CategoryA03. Achievement in Production
EntrantTBWA\SANTIAGO MANGADA PUNO Makati City, THE PHILIPPINES
Entrant Company TBWA\SANTIAGO MANGADA PUNO Makati City, THE PHILIPPINES
Advertising Agency TBWA\SANTIAGO MANGADA PUNO Makati City, THE PHILIPPINES
Production Company UNDERGROUND LOGIC Makati City, THE PHILIPPINES

Credits

Name Company Position
Melvin M. Mangada TBWA/SANTIAGO MANGADA PUNO Chief Creative Officer
Marci Reyes TBWA/SANTIAGO MANGADA PUNO Executive Creative Director
Chino Jayme TBWA/SANTIAGO MANGADA PUNO Associate Creative Director
Chino Jayme TBWA/SANTIAGO MANGADA PUNO Copywriter
Lance Yumul TBWA/SANTIAGO MANGADA PUNO Art Director
Paolo Salcedo TBWA/SANTIAGO MANGADA PUNO Copywriter
Sunny Lucero TBWA/SANTIAGO MANGADA PUNO Agency Producer
Portia Catuira TBWA/SANTIAGO MANGADA PUNO Managing Director
Andrew Licaros TBWA/Santiago Mangada Puno Account Supervisor
Teresa De Guzman TBWA/SANTIAGO MANGADA PUNO Account Manager
Jose Ticsay Underground Logic Director
Raymond Red Director
Syke Dolero Underground Logic Cinematographer
Kiko Po Underground Logic Offline Editor
Lloyd Blancaflor Underground Logic Online Editor
Top Suzara Loudbox Studios Inc Musical Arranger
Nioki Aquino Loudbox Studios Inc Sound Engineer

Brief Explanation

To bridge two generations of snackers, Oishi Prawn Crackers brought two generations of Filipino music icons in one music video: Francis M, the late king of Pinoy rap and Elmo Magalona, his 19 year old son. The setting was “Kaleidoscope World”, Francis M’s most loved music video of his biggest hit.

Creative Execution

The task was to bend time and put Elmo Magalona in each of his father’s well-remembered scenes. But the video was 18 years old and shot on Super 16 film. Challenge 01: Super 16 film contains grain and noise, and part of the main challenge was to reproduce it. We had to mainly copy that type of noise or grain on Elmo so that he would appear as though he was really part of the original footage. Challenge 02: Placement. Where to put Elmo correctly was one of the challenges. Aside from proper scaling and size relations against his dad, placing him without bumping or intersecting unnecessarily with anyone in the footage was a shoot and layout matter that was dealt with meticulously. Challenge 03: Lighting. Considerations on how we had to light Elmo and replicating conditions from the original material was part of the earliest challenges. It can only be achieved by keen comparison and testing against the original footage. Challenge 04: Synching was crucial with many scenes as Elmo had to sing with his dad and sometimes, side-by-side with him. It was so important from choreography to matching him with the best planned interactivity possible. Challenge 05: Blending. In the goal of making Elmo look like he was really there was to composite him very well. The technicians took meticulous work and attention on treating light, shade, shadow, occlusion, color, speed, cadence, synch, placement, scale, grain or noise, motion blur and edges just to create the illusion.