The Frame, designed by Yves Béhar is part of Samsung’s designer range of in home technology and sits alongside the Bouroullec brothers Serif TV released in 2016. The campaign is being executed upon the Instagram platform, targeting a millennial audience whom have a keen eye for the arts.
Under the creative direction of BMB’s Ben Lunt, an 8am call time with Armoury at London’s Park Royal Studios is where Pickled’s work began. Four themed scenarios and two Arri ALEXA XT cameras saw teams continuously set-build and shoot for Samsung’s latest TV tech.
The 40 idents were shot over four days by Armoury, under the post supervision of Pickled’s Craig Reeves, who worked closely with director Matteo Bonifazio to ensure that on set demands would translate into post production. So as to provide on-set test compositions, Pickled liaised continually with the DIT (Digital Image Technician) and had immediate access to the shot footage.
With Pickled’s producer based South of London and a post-production team situated around the UK, working with Armoury and Ad agency BMB situated in and around the capital, Pickled’s network post-production pipeline proved seamless.
The post process was a combination of Adobe’s creative cloud‘s, Premiere, After Effects and Autodesk Flame, with teams given access to networked assets where setups and project files were live. This practice allowed for efficiency, utilising the varying skillsets and time of individual team members.
With physical miles standing in-between each artist, the power of the network allowed for the team to unite and perform tasks as if they were sitting side-by-side. Communication was key to the pipeline’s success. The ability to share screens, files, links and notes throughout the team and client allowed for a transparent and fluid process.
Whilst the raw rushes were being processed, Pickled shared offline / low resolution data to multiple locations via the cloud.
Upon receiving the networked transcoded H264’s movie files, artists, Tom Fulcher and Michael Blackman began to craft the edits in Adobe’s Creative Cloud. Meanwhile Reeves oversaw VFX elements and prepared the builds switching to Flame for conform, grade and comp. With varied complexities – multiple layers, motion graphics and chromakey, the online was completed with collaboration of both Flame and Adobe’s Creative suite.
The approval process drew opinion, direction and creative amends from Armoury’s director, Armoury HQ in North London and the creative agency BMB within Central London. Pickled were able to live supply edits and provide amendments as all four locations came together virtually. The final green light was granted by the client in South Korea, Samsung.