Title | FOREVER MORE |
Brand | LIWAYWAY MARKETING CORPORATION |
Product / Service | OISHI PRAWN CRACKERS |
Category | A09. Visual Effects |
Entrant | TBWA\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 |
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 |
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.
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.