With a rich career in
the music industry composing, directing and producing music for the likes of Audi,
BA, Direct Line, Domestos, Dove, Drambuie, GHD, Glade, Gocompare.com, Harvey
Nichols, HSBC, Hyundai, Land Rover, McDonalds, Morrisons, New York Bakery, O2,
Racing Post, Signal, Veet, and Vodafone, among others, Yellow Boat
Music’s Philip Jewson shares the ins and outs of being a musical director on commercial
shoots.
It is of course well-known that musical adverts, particularly
those that incorporate singing, can be invaluable to branding a product. This
is not only because they have that magic double quality of working both
visually and non-visually for brands, but also because they commit to the
hard-wired parts of consumers’ memories. You only have to think back to ‘Only
the flakiest, crumbliest chocolate..’ and you think Cadbury’s, ‘Washing
machines live longer with…’ - Calgon and ‘Just one Cornetto…’, and the brands
will be going around your head all day.
However, what’s not always so well known about creating memorable
music for commercials is how to make the most of it on set. As a Musical
Director of numerous commercials, I believe that having experienced musicians
on a shoot for a music-driven ad, and to advise during pre-production is key to
ensuring the optimum output. If you’re going to use music as the hook for
your campaign, it is critical to its success that it looks live and believable.
But it’s not just a matter of securing a group of good singers on set, there
are some other things you may want to consider:
Case Study One: Morrisons
Our brief for this spot was to write a new arrangement of the
classic song, ‘It’s beginning to look a lot like Christmas’. However the song
was to be performed by a number of actors, rather than professional singers, each
taking solo lines in a variety of scenarios.
The goal was to make sure the mouths of the actors were in
sync with the music and that the performances looked authentic.
To achieve this we began by writing the arrangement and demoing
it with session singers to lock down the timings and create a strong structure
before filming.
This gave us a base from which to teach the
actors how to sing the song; where to give emphasis and expression and to
provide clear cues. I was on hand to provide insight at all the shoot
locations, including a field of Brussels sprouts near Bolton at 6am….it was
cold! For another particularly tricky shot, the sound technician was strapped
to the back of a trailer whilst filming the actors singing in a taxi driving up
and down the street!
Armed with my iPad, I taught the actors their lines and
rehearsed them. We had live playback wherever we were so the performers could
sing to our backing track. This helped ensure, once fully rehearsed, each actor
would be able to provide a believable performance.
As we expect to happen, live vocals from the
shoot were compromised with background noise. Post-shoot we recalled the
actors to the studio to record a clean performance of their vocals. On set throughout the process, precise
direction ensured the quality of the vocals and that the delivery was entirely
in sync with the moving picture.
Case Study Two: Gocompare.com
When
the comparison site re-launched its well-known tenor Gio Compario in 2015 with
its ‘comeback’ advert, the brief was to have an
in-vision orchestra and choir actually playing and singing the newly composed
musical arrangement.
Unlike
Morrisons, the performers in this spot were trained orchestral musicians and
professional singers. The challenge was to ensure a seamless sync between sound and
motion.
The first action was to create a music demo to demonstrate
the new arrangement and the flow of the music. We recorded demo vocals
with the star of the adverts, the tenor Wynne Evans (Gio Compario). Once everyone
was happy with the demo track, I wrote out a full orchestral score and we booked
the orchestra and choir to perform for several days on shoot.
Again, to eliminate any compromised sound from background
activity we recorded the final tracks in sound studios, overseas and in London.
Wynne Evans recorded the final vocals to picture in our studio and was able to
add extra subtleties and expression over and above his initial guide-takes.
The
process was applied similarly to both the ‘Cello’ and ‘Pool’ commercials for
the campaign. ‘Cello’ required further direction to teach two, non-musically
trained actresses to convincingly play the cello throughout the ad. Again a
professional orchestra and singers also performed on the shoot.
With the new arrangement in place, we added the extra element
of backing vocals to ‘Pool’, this time with actors performing to camera.
The action was filmed around a swimming pool in South Africa – whilst exotic it
was no more enjoyable than the field near Bolton!