Client: EE | Samsung | Netflix
Agency: Saatchi & Saatchi
Role: Editing (launch films) | Cinematography (BTS)
Agency: Saatchi & Saatchi
Role: Editing (launch films) | Cinematography (BTS)
_the Challenge
We've wanted to create a social-first, TikTok exclusive piece, which would feel like it could be made by talented influencer, yet benefit from involving a 70+ crew of top people, renowed director, top-end gear, fake temporary bus stop, horse handlers, six locations in one day, and all that big production shebang.
Additionally, as sole editor, I had to navigate the needs of multiple stakeholders involved: from agency creatives and brand manager, through to the director responsible for the piece, to multiple end clients (EE, Samsung and Netflix). On top of that, I shot and edited the official BTS. That was a big part of the fun!
We've wanted to create a social-first, TikTok exclusive piece, which would feel like it could be made by talented influencer, yet benefit from involving a 70+ crew of top people, renowed director, top-end gear, fake temporary bus stop, horse handlers, six locations in one day, and all that big production shebang.
Additionally, as sole editor, I had to navigate the needs of multiple stakeholders involved: from agency creatives and brand manager, through to the director responsible for the piece, to multiple end clients (EE, Samsung and Netflix). On top of that, I shot and edited the official BTS. That was a big part of the fun!
_the Solution
The social-first feel had to translate through our visual and movement mood. For swipe transitions I've blended frames from multiple takes, including clean-plate shots. The scene where the phone is folded and put back in the pocket, and the horse scene both involve fake camera zooms and movement added in post, combining different takes of the same scene - but you wouldn't be able to tell if I haden't told you.
There's also screen replacement for the Netflix content, subtle UI elements and an endframe crafted specifically with TikTok in mind, to exclude any risk of product/CTA being covered by platform's UI in real life.
The social-first feel had to translate through our visual and movement mood. For swipe transitions I've blended frames from multiple takes, including clean-plate shots. The scene where the phone is folded and put back in the pocket, and the horse scene both involve fake camera zooms and movement added in post, combining different takes of the same scene - but you wouldn't be able to tell if I haden't told you.
There's also screen replacement for the Netflix content, subtle UI elements and an endframe crafted specifically with TikTok in mind, to exclude any risk of product/CTA being covered by platform's UI in real life.
_the Results
The final piece holds the title of most viewed EE video on TikTok to date. Thanks to involving me in the project from pre-production stage, on the shoot day and for the whole post-processing phase, I was able to ensure the planned movements would be achievable, confirm it on the day in real-time, and then have smooth sailing thoroughout the editing, allowing more time for creativity and exploring countless options, rather than fixing otherwise avoidable problems. And I also made a cool BTS. Good times and happy faces all around.
The final piece holds the title of most viewed EE video on TikTok to date. Thanks to involving me in the project from pre-production stage, on the shoot day and for the whole post-processing phase, I was able to ensure the planned movements would be achievable, confirm it on the day in real-time, and then have smooth sailing thoroughout the editing, allowing more time for creativity and exploring countless options, rather than fixing otherwise avoidable problems. And I also made a cool BTS. Good times and happy faces all around.
