 Hey everybody and welcome back to our channel. Today we're gonna show you how we created a high-end commercial and we wanna take you through the process of concept development, pre-production and production and show you everything in between. But before we start, hit that like button and subscribe to our YouTube channel with that notification bell on to never miss another video from us. Also, we have a special giveaway waiting for you in the end of the video, so make sure you stick around. But before we start talking about all the needy-greedy stuff, we wanna show you the full commercial. It's only 40 seconds long, so hang in there and then we're gonna dive right in. We're the creators. This is our choice. We wake up for this. We barely sleep for this. We fight for our vision. We laugh, hate, love, forgive. We change and then change again. This is us. Free to create anything. Artlist. Made for creators. So before you start anything, you wanna create a treatment. Now a treatment is a document that concentrates the overall look and feel of the product. The more references you have, the clearer your vision will be. Here's the treatment we created for this commercial. Let's dive a little bit into that. In the first slide, you already understand who's your audience and what's the basic idea for the commercial. The second slide is actually the locations and sets that we wanna show in the commercial. In our case, we knew in the concept development stage that we wanted to work on with howling at the moon soundtrack by Define Us. Now, you don't have to know what soundtrack you're going to use, but it's certainly helpful again for yourself and for your client. We already wrote the script and put it in the treatment. So the first sentence is we are the creators, and again, we have a general description about what we're going to see on screen. This specific commercial we did in collaboration with MSI. This is the gear that we're going to see in the location. It's their screen and their computer. So here, we're starting to get more references about the look and feel and what we're going to see. We wake up for this. So we've shown a staff member rigging up a drift car and the set. Here is the scene where our editor is falling asleep. Again, we have that reference photo, this woman floating in the water to get a clear vision of what you're going to see on screen. So here, our initial concept was a big green screen studio, sort of a Hollywood set. In the end, we actually went with more of a Blade Runner look. So we decided to take the concept of the Hollywood set with the look and feel of this scene and combine the two together to get that final Blade Runner scene. Our bowling scene, sort of a gorilla film crew. You have the poppy colors, the lead strips. Here, it was pretty easy to visualize this specific scene. We change and change again. Our editor is changing different versions of the commercial she's editing. So this is the final slide with the script. This is us free to create anything. So you have the drifting car right here just to get a better understanding of what's going to happen. And here's the slide for the cast. Again, this is not the final cast. This is just for the concept development. But it does give you the overall vibe of what we're going to see in the final commercial. And for the final slide, you do have the animatic storyboard we've created. Now we don't always have to do a 3D animatic. You can create just a sketched storyboard. For us, it was super helpful. You can see the similarities. First day of the pre-production, we've met with the crew, talked about the expectations and what is going to happen moving forward. The second day, we went location scouting together with the executive producer, the director, location manager, our director and DP. So we went through different options for each location. For the third day of pre-production, we went to visit all the locations we've chose on the second day. But this time we were with our assistant director, the lighting chief, and the rest of the technical crew to get a better understanding of the logistics behind each scene and location. For the fourth day of pre-production, we met with the costume designer and with the cast for fittings and getting to know them better before filming. Now this moment is exactly this moment that you have this entire vision and it's like jumping into reality. This is this moment. This is the moment today and tomorrow. It's all going to happen. So with the first shooting day, we started out with the bowling alley. We started with the master shot of skaters skating through the bowling alley. For the lighting setup, we used acero lights on the ceiling with two different colors to get that nice color contrast. The acero lights also gave us nice reflections on the bowling balls in the foreground. Working together with the art department, we had colorful LED lights across the different lanes to stylize the frame and get more depth. We used the Alexa Mini with an anamorphic cook lens on a dolly doorway to get that nice tracking shot across the bowling alley. And to get that beautiful anamorphic lens flare, we used a phone flashlight and shine it directly into the lens. For the second setup, we had our DP go handheld and freestyle some organic shots. For the third setup, we went for that fashion power shot finishing in with that dolly doorway. And that was a wrap for the bowling alley scene. So we just wrapped up our bowling scene and we came right here and moved to this location, this countryside house. So we had the same location for these two different scenes in order to keep up with the tight schedule. For the lighting setup for the VFX artist scene, we had an astera light combined with the MSI screen for the key light. And to stylize the shot, we used practical lights from the art department. To give more character to the VFX artist, we had a lot of different sci-fi inspired props. We also had tracking markers on the screen so we could replace it with whatever we needed in post production. The camera was sitting on a Dana dolly and we had to work with professional stuntmen so we could pull it off. While we were shooting the VFX artist scene, they were working with the actor and guiding him through the stunt. We also had some practical tricks done for post production. For the computer and screen floating effect, we had two crew members dressed in black holding them in mid-air and slightly moving them. The black suits helped us mask them out in post production. We knew we wanted to composite a city in the window so we blacked them out. This was easier than setting up a green screen because the scene took place at night time and trying to set up a green screen would have caused problems like light bouncing off it, reflections and of course, it would have been more time consuming. To stylize the shot and give it that dreamy look, we rigged a water tank on top of our actor and shined a beam of light through it to get some interesting textures. And of course, we hazed up the room Oh, that's a wrap for today. So this is our second day of shooting. Behind me you can see our base camp. We have around 50 to 60 people on our crew. The drifting car scene was separated into two different setups. For the first one, we had the crew rigging the camera on the car. And yes, we did use a fully rigged rig camera with an anamorphic cook lens just for props. We had the dolly doorway set up on rails for a dolly in movement. For the second setup, which was the car drifting, we had three angles. For the POV shot, we had the black magic pocket rigged on the car itself. For the top shot, we had the DJI Inspired 2 and for the main angle, we had the Alexa Mini behind a protective glass because a drifting car can cause some stones to fly all over the place. So safety first. And you really don't want to break that gear. To add that extra style to the scene, we lit up some yellow smoke bombs. And of course, this stunt was done by a professional car drifter. So we just wrapped up our car drifting scene and we came here to this abandoned factory. And actually what you're seeing behind me is some product shots we're filming for the MSI computer. For this setup we placed the MSI computer and screen on a spinning platform with a reflective black surface and set up a black cloth around it to black out the background and to prevent any light bouncing off the walls. We had the RE Sky panel with a big diffuser set on a daylight temperature for the top light and an a sterile light set on tungsten for a moving edge light. In the same location, we created the first shot of the commercial where the actor is walking towards the computer. We rigged the sterile lights throughout the hallway and programmed them to light up one after the other to reveal the scene and draw the viewer's eye to the computer at the end of the hallway. To add depth we went down the floor and used the smoke machine. This helped us get interesting reflections and diffuse the lights. For all the tracking shots we had the camera on a dolly and for the frontal tracking shot we had a crew member walking with a lead light to create a continuous key light on the actor. So we just finished our hallway scene and we came here this is our final scene for this commercial. What we're going to film here is our Hollywood set. For this scene the art department and costume design played a big part to help transform this location to a futuristic Tokyo scene we brought in different neon signs china balls and one really weird horse statue. Our actor was dressed with a reflective black dress and had colorful sunglasses. To stylize the shot with reflections we brought in a wet down truck. It was so freaking cold the water actually froze and Yuval our behind the scene cameraman turned into a popsicle. We had two setups for this scene. The first was the film crew getting the shot and the other was the shot itself with the compositing process to connect to the VFX artist scene. We had different color to sterilites spread around the location and to add more depth we had 2K fresnel lights inside the building shining through the window in the background. This was the final scene for the commercial and wrapping up the shoot was extremely satisfying. That's how we created a high-end commercial. We hope this video helped you out. If it did slapity slap that like button and subscribe to our YouTube channel with that notification bell on to never miss another video from us. Now let's talk about that giveaway. One lucky winner will win a one-year free subscription to the Artlist Music Catalog. All you need to do is comment down below what was your takeaway from this video. Here is the lucky winner from our last video's giveaway. Congratulations my friend. Until the next time, stay creative.