Maestro Dobel Diamante
June 2023 ––This campaign for Maestro Dobel Diamante Tequila was viewed through the lens of contemporary art and optics and was specifically designed to lend the Maestro Dobel a feeling of select quality, distinction, and high-end design.
Rather than being commercial in quality, the film had to feel more like a visual event; an exclusive invitation-only exhibition; an A-list opening that held a status all its own.
Munky wanted to bring all of his experience working with light to stimulate viewers with a kinetic display of live-action and motion design that was elevated, volumetric and immersive.
So, as a result, the team used custom LED walls, crystalline refractions, deep shadows and rhythmic edits to create a fully engaging experience that lended the brand an exceptional identity of distinction, refinement, and prestige.
Rather than being commercial in quality, the film had to feel more like a visual event; an exclusive invitation-only exhibition; an A-list opening that held a status all its own.
Munky wanted to bring all of his experience working with light to stimulate viewers with a kinetic display of live-action and motion design that was elevated, volumetric and immersive.
So, as a result, the team used custom LED walls, crystalline refractions, deep shadows and rhythmic edits to create a fully engaging experience that lended the brand an exceptional identity of distinction, refinement, and prestige.
The Film
–– 01The Concept
–– 02The goal was to create a filmic experience of purposefully designed imagery that employed light, optics, motion, and composition to paint a beautifully engaging display that was fully evocative of a modern art installation.
By placing the Dobel bottle in an environment that was rich with architectural detail, light and form, the team sought to transcend the limitations of typical table-top photography and create a fully immersive, visceral experience.
Within this gallery-like space, it featured only one Masterpiece; an exclusive work of art rendered in the elegant crystalline contents and structure of the Dobel Diamante bottle, and the liquid treasure it contained.
Once the viewers were introduced to the bottle, we wanted them to feel genuinely as if they have entered a gorgeous dimensional space that was rich with atmospheric beauty. Five OLED screens were placed in an arc around the product, one large anchoring display with 4 smaller screens bordering on each of its sides.
The screens themselves displayed conceptual images that denoted the softness, smoothness, and quality of the product and were integrated into the environment, captured in a studio shoot by the same team in Mexico City weeks prior to the final shoot on location.
Rather than appear as if the screens were hovering in a black void, they used the architectural elements of the location to create atmospheric blooms of clean volumetric light that lended the final frames a sense of depth and immense scale, ditching the dark studio void for a backdrop much more elevated and interesting.
By placing the Dobel bottle in an environment that was rich with architectural detail, light and form, the team sought to transcend the limitations of typical table-top photography and create a fully immersive, visceral experience.
Within this gallery-like space, it featured only one Masterpiece; an exclusive work of art rendered in the elegant crystalline contents and structure of the Dobel Diamante bottle, and the liquid treasure it contained.
Once the viewers were introduced to the bottle, we wanted them to feel genuinely as if they have entered a gorgeous dimensional space that was rich with atmospheric beauty. Five OLED screens were placed in an arc around the product, one large anchoring display with 4 smaller screens bordering on each of its sides.
The screens themselves displayed conceptual images that denoted the softness, smoothness, and quality of the product and were integrated into the environment, captured in a studio shoot by the same team in Mexico City weeks prior to the final shoot on location.
Rather than appear as if the screens were hovering in a black void, they used the architectural elements of the location to create atmospheric blooms of clean volumetric light that lended the final frames a sense of depth and immense scale, ditching the dark studio void for a backdrop much more elevated and interesting.
–– 02
The Process
–– 03The process to make this film was fairly involved and required two shoots in Mexico City and a lot of custom lighting rigs and programming. First Munky collaborated with Harvey Moon and Spectra Studio, who are real-time geniuses using Touch-Designer and illuminated new pipelines to work with pre-captured video footage as real-time assets on the OLED screens.
He then brought on legendary cinematographer Pepe Avila del Pino, an absolute killer of a DoP to capture all the content, which when played back on screens is always a technical challenge to capture. Pepe had recently wrapped numerous virtual production shoots for House of Dragons and was a great choice to bring this film to life.
For the content shoot, together with Spectra Studios, they had to set up many custom lighting rigs to illuminate all the various elements filmed to go on the screens in a dynamic and rhythmic fashion, and then programmed an array of lights in the architectural space to respond to the content in real-time. Pairing all of these elements together produced a dance of imagery that made the final edit feel like a dance performance of sorts when paired with the booming track by lifelong collaborator SoundsRed.
The production company Wabi Productions was an excellent partner throughout and Munky is very excited to continue to explore this emerging market in Mexico City to produce more memorable campaigns.
He then brought on legendary cinematographer Pepe Avila del Pino, an absolute killer of a DoP to capture all the content, which when played back on screens is always a technical challenge to capture. Pepe had recently wrapped numerous virtual production shoots for House of Dragons and was a great choice to bring this film to life.
For the content shoot, together with Spectra Studios, they had to set up many custom lighting rigs to illuminate all the various elements filmed to go on the screens in a dynamic and rhythmic fashion, and then programmed an array of lights in the architectural space to respond to the content in real-time. Pairing all of these elements together produced a dance of imagery that made the final edit feel like a dance performance of sorts when paired with the booming track by lifelong collaborator SoundsRed.
The production company Wabi Productions was an excellent partner throughout and Munky is very excited to continue to explore this emerging market in Mexico City to produce more memorable campaigns.
–– 03
Credit List
Client
José Cuervo: Manuel Coulomb
José Cuervo: Mariana Sanchez
José Cuervo: Emilia Castro
José Cuervo: Fernanda Villarreal
Agency
DDB: Rodrigo Zúñiga
DDB: Cynthia Salas
DDB: Sofia Romano
DDB: Stephanie Roldán
Production
Director: GMUNK
1st AD: Eduardo Negrete “Spider”
2nd AD: Jade Zoel
Production Company: Wabi Productions
CEO / General Director: Alan Suárez
Executive Producer: Carlos Kaiser
Executive Producer: Denise Mendoza
Executive Producer Coordinator: Mareike Steinmann
Line Producer: Mario Hernández
UPM / Coordinator: Herminio Tovar
APOC: Adriana Hernandez
Key PA: Alejandro Aguíñiga
PA: Alan Escobar Hernandez
PA: Brandon Axzel Torres Hernández
Location Manager: Martha Flores
Director of Photography: Pepe Ávila del Pino
1st AC: Israel Orozco
Camera Operator: Mario Gallegos Trejo
Camera Supervisor: Hansel Castillero Olvera
Camera Supervisor: Oziel Andres Figueroa Esquivel
Dolly / Cineped: Joel Rodriguez Resendiz
Dolly / TwinDolly: Jesus Sánchez Mejia
Gaffer: Mauricio Morales Cruz
Staff 1: Federico Malpica
Staff 2: Luis Ricardo Moreno Sanchez
Staff 3: Jorge Arath Sigüenza Ayala
Staff 4: Jesus Trinidad Murguía Olguín
Staff 5: Ricardo Cedeno Graniel
Staff 6: Irving Miranda Jiménez
Staff 7: César Camacho Rivero
Staff 8: César Arturo Díaz González
Movil / Alpha: Leonardo Antonio Flores Ortiz
Movil Assistant: Francisco Perez Varias
Generator: Roberto Zarate Davila
Sky Pannel 1: Orlando Solis Ruiz
Sky Pannel 2: Ivan Alfredo Ramos Martinez
Asteras 1: Israel Alejandro Castillo Telles
Lightning Console: Luis Medina
VTR: Ángel Gustavo López Marure
VTR Assistant: Hugo Morales José
DIT / Data Manager: Jorge Eduardo Hernández Vázquez
VTR Assistant Product Unit: Omar Alberto Coronel Garay
Production Design
Production Designer: Bernardo Trujillo
Art Director: Juan Pablo Garcia Tamés
Set Decorator: Hana Matsumoto
Swing: Carlos Carreto
Labor: Elizabeth Ruiz
Labor: Fernando Gaytán
Labor: Pablo Angeles
Lasers and Screens
Design Studio: Spectra Studio
Touch Design Director: Harvey Moon
Light Designer: Jacob Borgwardt
Lasers & Screens Coordinator: Alejandro de la Peña
Lasers Provider: Ulises Morales
Lasers: Jose Luis Chavez Reyes
Lasers: Erick Martínez
Lasers: Delher castillo
Lasers: Diego Saul Benitez
Lasers Coordinator: Israel Vergara
Lasers: Rene Martínez
Lasers: Guillermo Montellano
Lasers: Miguel Magaña
Lasers: Felipe Sanchez
Lasers: Edgar Chavez
Lasers: Ian Ramirez Amaya
Lasers: Juan Pablo Francisco Chavez Montoya
Practical Effects
FX Director: Fernando Viramontes
FX: Mario Iván Sánchez Rodriguez
FX: Luis Alberto García Castañón
FX: Gustavo Ricardo Martínez Grijalva
FX: Francisco Anaya castillo
FX: Gualberto Neri Ayala
Still Photo
Photographer: Tito Villalobos
DigiTech: Eduardo Rodríguez Nospango
Assistant: Alberto Ayala
Post Production
Post-Production: Juliana Velma
Editor: Daniel Balleza
Colorist: Raul Ballester
Client
José Cuervo: Manuel Coulomb
José Cuervo: Mariana Sanchez
José Cuervo: Emilia Castro
José Cuervo: Fernanda Villarreal
Agency
DDB: Rodrigo Zúñiga
DDB: Cynthia Salas
DDB: Sofia Romano
DDB: Stephanie Roldán
Production
Director: GMUNK
1st AD: Eduardo Negrete “Spider”
2nd AD: Jade Zoel
Production Company: Wabi Productions
CEO / General Director: Alan Suárez
Executive Producer: Carlos Kaiser
Executive Producer: Denise Mendoza
Executive Producer Coordinator: Mareike Steinmann
Line Producer: Mario Hernández
UPM / Coordinator: Herminio Tovar
APOC: Adriana Hernandez
Key PA: Alejandro Aguíñiga
PA: Alan Escobar Hernandez
PA: Brandon Axzel Torres Hernández
Location Manager: Martha Flores
Director of Photography: Pepe Ávila del Pino
1st AC: Israel Orozco
Camera Operator: Mario Gallegos Trejo
Camera Supervisor: Hansel Castillero Olvera
Camera Supervisor: Oziel Andres Figueroa Esquivel
Dolly / Cineped: Joel Rodriguez Resendiz
Dolly / TwinDolly: Jesus Sánchez Mejia
Gaffer: Mauricio Morales Cruz
Staff 1: Federico Malpica
Staff 2: Luis Ricardo Moreno Sanchez
Staff 3: Jorge Arath Sigüenza Ayala
Staff 4: Jesus Trinidad Murguía Olguín
Staff 5: Ricardo Cedeno Graniel
Staff 6: Irving Miranda Jiménez
Staff 7: César Camacho Rivero
Staff 8: César Arturo Díaz González
Movil / Alpha: Leonardo Antonio Flores Ortiz
Movil Assistant: Francisco Perez Varias
Generator: Roberto Zarate Davila
Sky Pannel 1: Orlando Solis Ruiz
Sky Pannel 2: Ivan Alfredo Ramos Martinez
Asteras 1: Israel Alejandro Castillo Telles
Lightning Console: Luis Medina
VTR: Ángel Gustavo López Marure
VTR Assistant: Hugo Morales José
DIT / Data Manager: Jorge Eduardo Hernández Vázquez
VTR Assistant Product Unit: Omar Alberto Coronel Garay
Production Design
Production Designer: Bernardo Trujillo
Art Director: Juan Pablo Garcia Tamés
Set Decorator: Hana Matsumoto
Swing: Carlos Carreto
Labor: Elizabeth Ruiz
Labor: Fernando Gaytán
Labor: Pablo Angeles
Lasers and Screens
Design Studio: Spectra Studio
Touch Design Director: Harvey Moon
Light Designer: Jacob Borgwardt
Lasers & Screens Coordinator: Alejandro de la Peña
Lasers Provider: Ulises Morales
Lasers: Jose Luis Chavez Reyes
Lasers: Erick Martínez
Lasers: Delher castillo
Lasers: Diego Saul Benitez
Lasers Coordinator: Israel Vergara
Lasers: Rene Martínez
Lasers: Guillermo Montellano
Lasers: Miguel Magaña
Lasers: Felipe Sanchez
Lasers: Edgar Chavez
Lasers: Ian Ramirez Amaya
Lasers: Juan Pablo Francisco Chavez Montoya
Practical Effects
FX Director: Fernando Viramontes
FX: Mario Iván Sánchez Rodriguez
FX: Luis Alberto García Castañón
FX: Gustavo Ricardo Martínez Grijalva
FX: Francisco Anaya castillo
FX: Gualberto Neri Ayala
Still Photo
Photographer: Tito Villalobos
DigiTech: Eduardo Rodríguez Nospango
Assistant: Alberto Ayala
Post Production
Post-Production: Juliana Velma
Editor: Daniel Balleza
Colorist: Raul Ballester