SUMMARIES ABOUT THE SHOOTING OF THE SONY COMMERCIAL

Budapest Film Academy teamed up with Sony, and announced a commercial contest to popularize the new SONY NEX-R5 camera. After selecting the best screenplay for the commercial, BFA students could participate in the competition with their own directing conceptions.

Sony’s marketing team chose the version of Szentiványi Gábor; therefore, he directed the commercial and he could pick the crew members from the other BFA filmmaking classes. Everybody could only have one particular role in the commercial shooting process, depending on the course they studied. The producer was Weith Katalin, the cinematographer was Nagy Márton, Czigler Zsófia participated as a directing assistant; Nagy Tamara became the scripter and Csoda Bence made the werk videos.

The commercial showed a photoshoot where a French photographer cannot convince his model to smile and to really get into her role. The model is laying on a couch with a bored face, and she cannot wait for the photoshoot to end. The same mood applies to the gaffer who is leaning against a ladder in the background. While the photographer is trying harder and harder to instruct and direct the model, with a sudden move, his trousers rip. He does not notice this and we can see his red underwear. The vigilant gaffer takes advantage of the situation, he quickly grabs his SONY NEX-R5 camera, takes a photo of the ripped pants, and he sends the picture through the camera’s wireless function to the studio’s TV screen. After the model sees this picture on screen, she bursts out laughing and the photographer thinks that he provoked this laughter with his talent. He is now very pleased and continues taking photos.

One of the scenes that we shot several times was the one when the photographer rips his trousers. The conception was that the viewer does not know what happens to the photographer, that in the first few seconds they can only see the gaffer’s reaction to it. In addition, the little hole on the photographer’s trousers got bigger and bigger while the time passed. At the end of the day those trousers almost ripped entirely, but thanks to the enthusiastic photographer, he did not have time to pay attention to his moves, so we could see the red underwear in every scene. After we shot a few scenes like this, we came up with the solution: we glued some signs to the floor to instruct him w here he can and cannot step.

Since it was a student film, it had no budget. Everybody was working on to arrange their acquaintances as actors, to find a location and make-up artist.

We had one day to do the commercial, and because of this the crew arrived at seven thirty in the morning to the location and started preparing for work. The shooting started with a little slippage, but it continued smoothly, mainly because the students knew each other from the classes, and cooperation was easy.

The shooting was spent in a great atmosphere all day, and besides work relations, real weith katafriendships were born. It was great to see how well the group worked together, and that we could use all the knowledge that the filmmaking industry’s finest members taught us through these courses. It was very important for BFA students to create professional relationships, because in the next semester we will continue to shoot short films.

Katalin Weith


The shooting of Sony commercial from the first ad’s point of view

As the student of the Budapest Film Academy I had the opportunity to participate as the first assistant director in the Sony commercial at the end of the Fall semester. It was exciting for me, because I finally had the opportunity to apply theoretical knowledge into practice, and I was curious about how much I can help the director.

After the concept was selected, meetings among the crew members began. Despite the fact that the production was a commercial, it was also a student film; therefore, we had no budget which made our work more difficult.

As an assistant director, it was my job to communicate between the members of the cast and crew, and the director. When the final script was made, and we had our location, I had to break down the script to a list of shots. After every member was put in position, I prepared the daily call sheet.

Following all these, we had only one day for the shooting. According to the call sheet, the crew arrived at the set at half past seven in the morning, and we started the preparations.

It was the most exciting part for me, because we had a half an hour delay at the beginning of the work, and I had to take this into consideration during the day. We had to shoot everything that we had talked about, what was included in the concept; we could not miss anything and we could not afford more stops.

It was important not to cause any problems at the location studio, or to ruin the reputation of the director and the crew with a huge delay.

We all had a common goal and we had to pay attention that we do not cause any trouble either for us or others.

At the same time, I had to check the make-up artist and the stylist, and secure their appearance on the set.

Nevertheless, the work went smoothly, and fortunately, we could also make up for the lost time. In my opinion, it was a huge advantage that the crew members have been knowing each other from the courses and, because of this, had a good relationship.

I’m glad for the success of the completed short film, working with the crew was a really czigler zsófigood experience. I’m thankful that I could be a part of this and that I could help the director’s, Szentiványi Gábor, vision come to life.

Zsófi Czigler

 

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