treatment by
DYLAN MARANDA & SEQUOIA CONTENT
These types of campaigns and concepts are some of my favorite— succinct, aesthetic, and story driven scripts. I really appreciate you giving me the chance to share my approach for this. I know it’s likely been some time of wrestling with this idea— but not to fret, I am here to make sure we have a great shoot.
As always, I consider treatments to be the start of a conversation, rather than the end all be and all. Don’t hesitate to let me know if something isn’t quite feeling right for you, I would be glad to chat more about it.
With all that said, let’s dive in…
I want to keep the way we attack this creative nice and simple. Let’s not get fancy with it.
I am thinking that we take the approach of:
two shots for each 6sec
four shots for the 15sec
I will break these scripts down individually as to how that will work for each creative— but the hope is that this will keep us in the world of highly aesthetic and composed storytelling, the type of storytelling we all love. An approach that integrates a single, tasteful match cut without being completely locked into tight closeups on cans— but still integrating product in a beautiful way so the client can get excited with us, while we still get to tell a story.
An approach that keeps us in integrity for our original idea, incorporates storytelling to keep an audience engaged, and still has the product be front and center— all while allowing us to make our day with 10 shots total.
Composed, aesthetic, natural, and glued together by impeccable colour grading. That’s what I feel should be baseline for the look on this project.
I think shooting 4:3 for our master visuals would be a unique choice in this. Over time, the irregularity of deliverables has led me to gravitate towards shooting open gate large format. It allows to maximize resolution for multiple format outputs, digital zooms, or do punch-ins without having to change framing… But I think the 4:3 frame could really lend itself to the “photographic” approach on these scripts.
I want to focus on making a couple key aesthetic decisions which will seperate our visual language with the repetative (and honestly redundant) look of most beer ads that are out there.
One more bold visual choice could be to rely on lenses at the wider end of the spectrum to capture more of what’s going on in the background and have a wider depth of field. Leaning more into anything below a 35mm could net us some interesting compositions when it comes to our action, and let the longer lens us on our product shot stand out.
Overall, I think we go with a DP who has expressed skill in shooting product, but who has keen aesthetic instinct for composed and simple framing.
Detail oriented, warm, and lived in. I think that should be the vibe for where we shoot and what’s in frame. We want to be able to add meaningful details to our scenarios and characters that add texture to both our subjects and add to the story that’s happening at the edges of our frame.
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A bar with a ton of character, adorned with knick-knacks, string lights, dare I say a fish tank on the wall?
Warm, glowing sunset sunlight that spreads low over a brand coloured picnic cloth—
Interesting stickers on the bikes or water bottle. The park we are biking in has a scene view…
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Let’s talk about where we can make additions on our follow up call!
Just a quick note on this— I know that we only really have 1, maybe 2 spots where we can see our characters' faces, but I want to outline an approach.
A wide range of diversity, particularly looking for people whose bodies tell a story in and of themselves. Perhaps a tattoo on an arm, a unique sense of style, a different way of carrying themselves, a difference in ability etc.
Let’s look for opportunities to add to scenes by finding elements of characters that don’t involve seeing their faces.
Check out some of these faces!