Samsung S6 Edge
April 2015 ––At its best, cutting edge technology is like a work of art - truly awe-inspiring in its design, function and beauty. The Samsung S6 Edge is no exception - and we treated it that way as we revealed it to the world through this compelling teaser film. For the project, we wanted to capitalize on the opportunity to bring this device to life with incredible lighting, dynamic motion and fluid energy, crafting a compelling visual study of the new product.
Specifically, we again utilized practical filmmaking techniques in collaboration with the always great Dr Joseph Picard as we examined the material and optical properties of the Samsung S6 through reflection, refraction and illumination. This study of materials was edited together into a high energy, cinematic experience that introduced the new phone on the large video billboards that are signature in city-centers around the world.
Specifically, we again utilized practical filmmaking techniques in collaboration with the always great Dr Joseph Picard as we examined the material and optical properties of the Samsung S6 through reflection, refraction and illumination. This study of materials was edited together into a high energy, cinematic experience that introduced the new phone on the large video billboards that are signature in city-centers around the world.
The Film
–– 01The Treatment
–– 02We saw three distinct chapters of this film that break down into the Introductory Quotes, Teasing the Phone and the reveal of the Features. While each of these sections has a distinct purpose, we envisioned them flowing together seamlessly in terms of lighting, movement and the evolution of our storytelling to introduce the new phone in a compelling fashion.
Chapter One: The Literature of Technology
The film opens with visually striking lighting and movement that teases the lettering before we move to reveal the quotes with dynamic backlit illumination. I wanted to use a wide variety of light sources in the tease, from lasers to a large backlit LED panel flowing through the three-dimensional lettering that make up the quotes. All would be enhanced by volumetric haze and lazer fields that would add to the atmosphere and fill the space with body and depth.
As we film these glints and glows that are teasing out the words, the camera will be constantly moving, capturing the action in vivid color and dynamic movement. We wanted to bring the lettering to fully illuminated life as we reveal the quote with intricately designed backlighting provided from a precision-mapped Samsung HD LED television behind the laser cut acrylic lettering. This lighting design will be fluid and dynamic as it animates behind the lettering, making the quote as beautiful as it is intriguing.
Chapter Two: Capturing the Spirit of Samsung
We’re seeking to paint a striking impression of the Samsung S6’s novel design, paying special attention to its elegant curves and beautiful materials as we tease its form. Lighting and movement will be integral aspects of this chapter, and we’ll use them to build out the various dimensions and qualities of the device, which will be a resin poured acrylic mold; a nascent entity that only shows the material qualities of the device before we fully introduce it in the following chapter.
We wanted to surround this ‘phone’ with a variety of different light sources as we move it, spin it, and rotate it in interesting ways using motion-controlled turn-tables. We’ll also have the camera on a robotically controlled Milo to add to the dynamic movement. This combination will send highlights traveling down the perfect edges of the device, making it all the more sleek, exciting, and alluring. In a lot of ways, we will shoot this like a car commercial, intensely focusing on the materials and curvature of the form to make beauty - except we’ll use Lasers, LED Curtains, Backlit OLED Screens and Pyrotechnic Sparks as our light sources for unique interactions with the surfaces and materials of our principal object.
Chapter Three. Stepping into the Future with S6
When the time comes to reveal the features of the Samsung S6, we’ll bring up the level of light so that it’s no longer just a world of reflections and refractions. This could be thought of as something akin to glamour cinematography as we use elegant lighting and sweeping movements to highlight what the phone is all about - and of course a real S6 phone will be used as the principal subject to photograph.
During this chapter, both the camera and the S6 will be constantly on the move, instilling energy and excitement into each shot that keeps people wanting to see more. We’ll make fluid moves with one or both of them as our focus comes to land on the feature we are highlighting, which in itself will be a custom treatment in line with what the concept behind each feature is..
The lighting will continue to be compelling and experimental, giving us a clear picture of the glass and metal that make up the intricately designed form of the S6. We will also try out a variety of schemes such as intricate laser fields, custom lens flares using streak filters, sweeping light movements and glowing atmospheric effects that will be highly engaging.
Chapter One: The Literature of Technology
The film opens with visually striking lighting and movement that teases the lettering before we move to reveal the quotes with dynamic backlit illumination. I wanted to use a wide variety of light sources in the tease, from lasers to a large backlit LED panel flowing through the three-dimensional lettering that make up the quotes. All would be enhanced by volumetric haze and lazer fields that would add to the atmosphere and fill the space with body and depth.
As we film these glints and glows that are teasing out the words, the camera will be constantly moving, capturing the action in vivid color and dynamic movement. We wanted to bring the lettering to fully illuminated life as we reveal the quote with intricately designed backlighting provided from a precision-mapped Samsung HD LED television behind the laser cut acrylic lettering. This lighting design will be fluid and dynamic as it animates behind the lettering, making the quote as beautiful as it is intriguing.
Chapter Two: Capturing the Spirit of Samsung
We’re seeking to paint a striking impression of the Samsung S6’s novel design, paying special attention to its elegant curves and beautiful materials as we tease its form. Lighting and movement will be integral aspects of this chapter, and we’ll use them to build out the various dimensions and qualities of the device, which will be a resin poured acrylic mold; a nascent entity that only shows the material qualities of the device before we fully introduce it in the following chapter.
We wanted to surround this ‘phone’ with a variety of different light sources as we move it, spin it, and rotate it in interesting ways using motion-controlled turn-tables. We’ll also have the camera on a robotically controlled Milo to add to the dynamic movement. This combination will send highlights traveling down the perfect edges of the device, making it all the more sleek, exciting, and alluring. In a lot of ways, we will shoot this like a car commercial, intensely focusing on the materials and curvature of the form to make beauty - except we’ll use Lasers, LED Curtains, Backlit OLED Screens and Pyrotechnic Sparks as our light sources for unique interactions with the surfaces and materials of our principal object.
Chapter Three. Stepping into the Future with S6
When the time comes to reveal the features of the Samsung S6, we’ll bring up the level of light so that it’s no longer just a world of reflections and refractions. This could be thought of as something akin to glamour cinematography as we use elegant lighting and sweeping movements to highlight what the phone is all about - and of course a real S6 phone will be used as the principal subject to photograph.
During this chapter, both the camera and the S6 will be constantly on the move, instilling energy and excitement into each shot that keeps people wanting to see more. We’ll make fluid moves with one or both of them as our focus comes to land on the feature we are highlighting, which in itself will be a custom treatment in line with what the concept behind each feature is..
The lighting will continue to be compelling and experimental, giving us a clear picture of the glass and metal that make up the intricately designed form of the S6. We will also try out a variety of schemes such as intricate laser fields, custom lens flares using streak filters, sweeping light movements and glowing atmospheric effects that will be highly engaging.
–– 02
The Process
–– 03The process for this clip was highly technical, as it was mostly executed using motion-controlled cinematography along with macro lenses using very short focus distances. We had to tightly synchronize these two major elements with an array of Laser Projectors provided by frequent collaborator Adam Labay. Add in the backlit LED screens shining through the acrylic lettering and you have a set full of expensive gear and a lot of moving parts.
For Munky, the most compelling part of the shoot was definitely using the Milo Camera System led by Simon Wakley.. The system reminded him of a much more refined BD Move, the motion-control system used at Bot & Dolly on projects like Box and Audi. The Milo was a real-time, iterative motion-control system that allowed the team to innovate on the fly and the ability to try out a variety of camera moves before settling on the final options, which was invaluable.
For Munky, the most compelling part of the shoot was definitely using the Milo Camera System led by Simon Wakley.. The system reminded him of a much more refined BD Move, the motion-control system used at Bot & Dolly on projects like Box and Audi. The Milo was a real-time, iterative motion-control system that allowed the team to innovate on the fly and the ability to try out a variety of camera moves before settling on the final options, which was invaluable.
–– 03
Samsung S6 Edge – Credit List
Production Company: Tool of North America
Director: GMUNK
Managing Director / Live-Action: Oliver Fuselier
Executive Producer: Steven Gould
Producer: Kelly Amato
Prod. Supervisor: Rochelle Savory
Asst. Prod. Super: Megan Foraker
1st AD: Kelly Flynn
Director of Photography: Joe Picard
1st AC: Bob Smathers
2nd AC: Sherri Mirada
DIT: Bobby Maruvada
Operator: Simon Wakley
Moco Tech: Chris Toth
Gaffer: Alex Skvorzov
BB Electric: Steve Morales
Electric: Matt Whiteside
Electric Driver: Jose Garcia
Key Grip: Kevin Coon
BB Grip: Jeff Clark
Grip: Hunter Rodgers
Grip: Billy Heath
Production Designer: Loren Lyons
Prop Maker: Bob Garrigus
Prop Master: Steve Alder
Prop Assistant: Kevin Macdonald
Special Effects: Lucinda Foy
VTR: Brad Huffman
Laser Tech: Adam Labay
Motion Designer: Michael Rigley
Typographer: Rowan Ogden
Gang Boss: Joe Baker
Craft Service: Samantha Webster
Stage Manager: Eric Helms
Prod Asst (Office): Genea Campbell
Prod Asst (Prod): Jack Soloway
Prod Asst (Ad): Stephanie Etheredge
Prod Asst (Agency): Tess Ferguson
Prod Asst: Dan Zealand
Prod Asst: Joelle Brunet
Client: Samsung Worldwide
Agency: Chael Seoul Korea
Agency Producer: Daniel D.I Min
Project Manager: David Moon
Account Manager: Lina Hwang
Post-Production: Final-Cut
Post Producer: Sherri Patterson
Post Coordinator: Michael Miller
Editor: Adam Rudd
Clean-up: Alek Rost
Audio: Keith Ruggiero
Production Company: Tool of North America
Director: GMUNK
Managing Director / Live-Action: Oliver Fuselier
Executive Producer: Steven Gould
Producer: Kelly Amato
Prod. Supervisor: Rochelle Savory
Asst. Prod. Super: Megan Foraker
1st AD: Kelly Flynn
Director of Photography: Joe Picard
1st AC: Bob Smathers
2nd AC: Sherri Mirada
DIT: Bobby Maruvada
Operator: Simon Wakley
Moco Tech: Chris Toth
Gaffer: Alex Skvorzov
BB Electric: Steve Morales
Electric: Matt Whiteside
Electric Driver: Jose Garcia
Key Grip: Kevin Coon
BB Grip: Jeff Clark
Grip: Hunter Rodgers
Grip: Billy Heath
Production Designer: Loren Lyons
Prop Maker: Bob Garrigus
Prop Master: Steve Alder
Prop Assistant: Kevin Macdonald
Special Effects: Lucinda Foy
VTR: Brad Huffman
Laser Tech: Adam Labay
Motion Designer: Michael Rigley
Typographer: Rowan Ogden
Gang Boss: Joe Baker
Craft Service: Samantha Webster
Stage Manager: Eric Helms
Prod Asst (Office): Genea Campbell
Prod Asst (Prod): Jack Soloway
Prod Asst (Ad): Stephanie Etheredge
Prod Asst (Agency): Tess Ferguson
Prod Asst: Dan Zealand
Prod Asst: Joelle Brunet
Client: Samsung Worldwide
Agency: Chael Seoul Korea
Agency Producer: Daniel D.I Min
Project Manager: David Moon
Account Manager: Lina Hwang
Post-Production: Final-Cut
Post Producer: Sherri Patterson
Post Coordinator: Michael Miller
Editor: Adam Rudd
Clean-up: Alek Rost
Audio: Keith Ruggiero