Title | MIRRORLESS |
Brand | SONY |
Product / Service | ALPHA |
Category | A12. Achievement in Production |
Entrant | HAVAS WORLDWIDE AUSTRALIA Sydney, AUSTRALIA |
Entrant Company | HAVAS WORLDWIDE AUSTRALIA Sydney, AUSTRALIA |
Advertising Agency | HAVAS WORLDWIDE AUSTRALIA Sydney, AUSTRALIA |
Production Company | THE SWEET SHOP Auckland, NEW ZEALAND |
Name | Company | Position |
---|---|---|
Tim Green | Havas Worldwide | Executive Creative Director |
Seamus Higgins | Havas Worldwide | Creative Director |
Stuart Turner | Havas Worldwide | Creative Director |
Brent Kerby | Havas Worldwide | Group Account Director |
Steve Osaer | Havas Worldwide | Senior Account Director |
Lawrence Pretty | Havas Worldwide | Account Manager |
Darren Cole | Havas Worldwide | Head of Design |
Warrick Nicholson | Havas Worldwide | Creative Services |
Chris Hulsman | Havas Worldwide | Creative Services |
Monique Pardavi | Havas Worldwide | Head of Broadcast |
Noah Marshall | The Sweet Shop | Director |
Tony Whyman | The Sweet Shop | Producer |
Edward Pontifex | The Sweet Shop | Executive Producer |
Wilf Sweetland | The Sweet Shop | Managing Director |
Jamie Ramsey | The Sweet Shop | Director Of Photography |
Max Poolman | The Sweet Shop | Special Effects |
Tim Mauger | The Butchery | Editor |
Beryl | Beryl | Post Production |
Elliott Wheeler | Turning Studios | Composer |
Abby Sie | Song Zu | Sound genius |
The mirrorless range of cameras by Sony is a huge step forward in photography, resulting in smaller, lighter and faster cameras within the Alpha range. This commercial announces this removal of the mirror in spectacular fashion, ushering in a new era in photography.
To create this we took 7 of the largest mirrors available to the middle of the Namibian desert to a beautiful, lunar like location. Shot entirely in camera, the only visual effects were painting out ropes and reflections of the crew. Part of the challenge was laying the explosives in the correct positions to create an outward movement to the shards of mirror. And also cleaning up every piece so as to leave no trace in the Namibian desert. We had two cameras capturing every detail but had no idea what was being captured until after the explosion. So we had to learn with each shot what to do better in the next. The budget was less than $300k so we only had 7 mirrors in which to get it right. Thankfully we did in the end.