Title | OK GO: I WON’T LET YOU DOWN |
Brand | OK GO + HONDA |
Product / Service | HUNGRY GHOST ALBUM / UNI-CUB |
Category | A12. Achievement in Production |
Entrant | MORI Tokyo, JAPAN |
Entrant Company | MORI Tokyo, JAPAN |
Advertising Agency | MORI Tokyo, JAPAN |
Advertising Agency 2 | DRILL Tokyo, JAPAN |
Advertising Agency 3 | DENTSU Tokyo, JAPAN |
Production Company | MORIMORI Tokyo, JAPAN |
Name | Company | Position |
---|---|---|
Morihiro Harano | Mori | Creative Director |
Jun Nishida | Drill | Art Director |
Kazuaki Seki | Triple O | Director |
Damian Kulash, Jr. | OK Go | Director |
furitsukekagyou air:man | furitsukekagyou air:man | Choreographer |
Makoto Okuguchi | tsuji management | Cameraman |
Akiyoshi Irio | Lighting | |
Takashi Taniguchi | O.F-inc. | GRIP |
Mitsuru Yamamori | morimori | Producer |
Taito Oyama | Progressive | DIT |
Kenji Yasuda | Multi-Copter Pilot | |
Shunsuke Kakuuchi | Online Editor | |
Takashi Tanaka | Online Editor | |
Shigeyuki Toriumi | IMAGICA | Colorist |
Munechika Inudo | Mark | Mass Games Design + Previsualization |
Yoshifumi Sadahara | Mark | Producer |
Daisuke Sasaki | Mass Games Design + Previsualization | |
David Robert | Mass Games Design + Previsualization | |
Hideaki Jinbo | Assistant-director | |
Satoshi Miyata | morimori | Production Manager |
UNI-CUB is a new personal mobility device developed by Honda. For its global branding effort, they created a 'collaborative music video' with popular band, OK Go. The entire video was filmed in one continuous shot with a drone from 0 meters to 700 meters above ground. In 10 hours the video reached 1 million views. In 6 days, 10 million and currently 20 million and counting. The microsite provided the making-of, product information and an interactive video which allowed users to design their own mass game. The sequential launches kept the campaign viral for a long period of time.
The greatest achievement of this project is one continuous shot with a custom-made drone from 0 meters to 700 meters above ground. The drone was on a dolly at the beginning, then it took off, and started to move upwards with music. Capturing precisely the centre of the screen, the movement of drone was controlled automatically and manually — the motion programming based on GPS, and the drone operator to aid the programmed movement. It was hard enough to synchronize those 2 elements, but another element was there, the camera operator. Coordinating all 3 elements at the same time was simply a hard work. The battery installed on the drone was powered up to withstand the entire flight up till 700 meters above ground. The film was shot in half speed of original music and brought back at the editing. Because of this, it took us more than 10 minutes to shoot one take and the band, dancers and drone had to synchronize the movement accordingly. In total, we shot 44 takes, out of this 11 takes managed to reach the end, and only 3 takes were acceptable in terms of creative quality.