Moving from our phone conversation with Jessica it sounds like we want to retain some aspects of the previous designs but to also explore some new directions. It seems safe to say we will retain the color palette, and the use of patterns (especially polka dots). Maybe we want to get away from non-sphere geometry such as cylinders and cones etc.
Areas for exploration could include the geometry/architecture of the spaces. And also the way objects and patterns could move. It's a tight turnaround we want to avoid techniques that are overly complex or require interaction with the talent.
The boards suggest 3 primary environments. I'm assuming we bookend back to the activated white world at the end?
- White bar world that becomes "activated" by the beverage
- Inverted world after the camera flip
- Falling Hole
The animation should feel fun and effervescent, maybe a little psychedelic. In terms of narrative we should hold back until at least the first sip. Is the product itself activating the change in environment or is it coming from the bar?
Patterns becoming dimensional
We could create an interplay between patterns animated on surfaces but then becoming dimensional. For example polka dots flowing as a texture across the floor but then popping out as bubble spheres and floating to the ceiling.
Keeping the many spheres concept but having them move like an intelligent simulation. So bouncing around like balls but then suddenly swarming to become part of designed geometric shapes.
Maybe this whole concept expands the bar itself so that when Salman walks away he's in a world of hyperreal white glossy interior design. These objects then become activated with patterns by the drink, then inverted when we flip and somehow come to life when falling down the hole.
Some of the prior work has the balls bounding around with some soft deformation. Maybe we could apply a little deformation to the floor and walls rather than the geometry itself. So the set seems to have an unexpected sort of give to it.
Split screen gif style
Just for the end product shot. Since we're aiming for a big dimensional rack focus maybe there's some cool ways using the animated elements to create a framing effect that the product could punch through.
Board 010 Floor Rotation
To be filmed as two shots stitched together. B footage rotation on input will roughly match A footage rotation on output. Here are three possibilities for camera rigging, all with slightly different feelings.
Rotating the camera around a floor axis.
Rolling the camera and simultaneously panning to place the floor in the correct position.
Rolling the camera and simultaneously craning down towards the floor.
Two possibilities - One continuous shot, or two stitched shots.
Stitched shot -
Fabricated hole is elevated on platform 3 - 4 feet off the ground.
A footage - Talent jumps in the hole without rigging, while camera cranes down past the floor plane. The last 3 - 8 frames of the A side passing through the hole will be digitally created.
B footage - Talent falls with rigging, camera cranes down with talent to match the previous movement.
Continuous shot -
Talent is rigged and begins from a higher position. Both rigging and talent pass through the fabricated hole piece while camera cranes down.
Two possible motions for the introduction of the bar.
The entire wall flips up from a horizontal position as talent walks through hole
The wall with hole is already in place but the bar extrudes from the ground as talent walks through.
In both these cases there will be a considerable interplay in lighting between the area behind and in front of the wall, it's going to look strange to place it digitally unless something is done to compensate for this. For a full digital option it's suggested to rig large cards either side of the talent to flip up and block lighting.
If a bar segment and the hole wall can be fabricated, it would make more sense to shoot with it in place and then erase it digitally to transition it in.