Title | NRMA FIRST SATURDAYS |
Brand | NRMA |
Product / Service | NRMA INSURANCE |
Category | B02. Colour Correction / Grading |
Entrant | HECKLER Sydney, AUSTRALIA |
Idea Creation | CHE PROXIMITY Sydney, AUSTRALIA |
Production | REVOLVER Sydney, AUSTRALIA |
Post Production | HECKLER Sydney, AUSTRALIA |
Name | Company | Position |
---|---|---|
Brent Smart | IAG | CMO |
Sally Kiernan | IAG | Director, Brand Marketing |
Zara Curtis | IAG | Director, Content & Customer Engagement |
Caroline Hugall | IAG | Director, Group Brand Strategy |
Luke Farrell | IAG | Director, Marketing Operations |
Sam McGown | IAG | Creative & Innovation Lead |
Elizabeth Stokes | IAG | Creative & Innovation Lead |
Mahsa Merat | IAG | Creative & Innovation Specialist |
Ant White | CHE Proximity | Chief Creative Officer |
Chris Howatson | CHE Proximity | Chief Executive Officer |
Holly Alexander | CHE Proximity | Director of Production |
Glen Dickson | CHE Proximity | Executive Creative Director |
Wesley Hawes | CHE Proximity | Executive Creative Director |
Gavin Chimes | CHE Proximity | Creative Director |
Mark Tallis | CHE Proximity | Senior Art Director |
Cameron Dowsett | CHE Proximity | Senior Copywriter |
Katie Dally | CHE Proximity | Client Partner |
Charles Todhunter | CHE Proximity | Senior Account Manager |
Nick Andrews | CHE Proximity | Director, Brand |
Darren Cole | CHE Proximity | Head of Design |
Vanessa Saporito | CHE Proximity | Designer |
Reece Lawson | CHE Proximity | Digital Design Lead |
Justin Kurzel | Revolver | Director |
Michael Ritchie | Revolver | Managing Director/Executive Producer |
Pip Smart | Revolver | Executive Producer |
Serena Paull | Revolver | Producer |
Ian Iveson | Revolver | Producer |
Sam Chiplin | Revolver | Director Of Photography |
Pete Baxter | Revolver | Production Designer |
Jack Hutchings | Revolver | Editor |
Jamie Watson | Heckler | Co-Founder/VFX Supervisor |
Bonnie Law | Heckler | Executive Producer |
Tom Corbett | Heckler | Head of 3D |
Olivier Fontenay | Heckler | Colourist |
Mark Chataway | Heckler | FX Artist |
Maxence Pellion | Heckler | Senior Compositor |
Brad Smith | Heckler | Senior Flame Artist |
Dan Page | Heckler | I/O & Edit Assist |
Antony Partos | Sonar Music | Music Composer |
Andy Wright | Sonar Music | Mixer |
Sophie Haydon | Sonar Music | Executive Producer |
Our films opens in the cab of a fire truck. Sirens and urgent chatter are heard as the truck races through a rural Australian town. We are experiencing the chaos of being a first responder to a fire. Full of adrenaline and measured concern, our fire fighters drive down dirt roads to find themselves faced with burning bushland. Prominent dates of major bushfires intercut with these images rooting them in reality. This is an accurate reenactment of very real, and recent, events. We close the film sitting in the cab of the firetruck, looking out at smoke and embers enveloping the bush. In a moment of reverence it's acknowledged that there are some days that not everyone can help but on days that its possible, we do.
This highly emotional film really hits to the heart of the Australian viewer as it references real events in our history. Major bushfires occurred on New Years Day 2020 in which many lost their homes, 18,636,079 hectares were burned and it is estimated over 3 billion animals died. This film highlights the the magnitude of that day and other similar catastrophes prior without glossing over their severity. The films intention is a call to action for people to make their homes bushfire safe.
With such a realistic reenactment, the colour grading needed to enhance the dramatisation but also settle the viewer into the action. The colour grading worked to take us through the daylight tones from morning to a dark dramatic fire fighting scenes. From softer colouring at the beginning of the film to the stark contrast between the blaze and the figures we take the audience through a journey echoing what first responders go through in such extreme times.