How McCann and Grayson Music Blended Production and Sound to Take Chevrolet ‘Beyond’
While the warmer period of 2023 is well in the past, that doesn’t mean we can’t yearn for sunnier days. And to this end, Commonwealth//McCann’s summer campaign for the 2023 Chevrolet ZR2 accomplishes this in spades. Packed to the brim with high-octane off road adventure and daring stunt cinematography, the work is an exciting ride, from start to finish.
Of course, making a campaign of this scale isn't easy. In having to follow up the well-loved ‘Go Beyond’ winter spot, the team was tasked with coming up with an original, exciting idea that would grab the attention of outdoor-loving Canadians from east to west. So, to accomplish just that, the agency and its production partners underwent an extremely technical shoot comprising the likes of underwater filming and specially-rigged cameras on vehicles. Moreover, on the sound side of things, Grayson Music was tasked with taking the brand to new heights, with the team recording over 16-hours of authentic ZR2 sound effects, foley, and an original, 2:50 soundtrack complete with a custom 5.1 cinema mix. Talk about an intense endeavour on all accounts!
So, to learn what it took to actually execute this, LBB’s Josh Neufeldt sat down with Commonwealth//McCann’s vice president, creative director Michael Katzikowski, and Grayson music director Tyson Kuteyi, sound engineer Vlad Nikolic, and composer Igor Correia.
LBB> Getting started, what was the goal of this campaign? How did you get started after receiving the brief?
Michael> Following the previous iteration of this campaign, ‘Go Beyond Summer’ was once again intended to push the boundaries, showcasing the enchanting beauty of Canada and the remarkable capabilities of the 2023 Silverado ZR2.
To truly do justice to both the truck and our stunning landscapes, we immediately knew we wanted to employ a range of innovative techniques to elevate each scene. Incorporating daring stunt cinematography was essential to immerse the audience in the heart of the action this year, and to this end, we wanted to bring the thrill of extreme water sports into the heart of Canada. So, we carefully selected and cast professional Canadian surf athletes renowned for their prowess in conquering challenging waters.
LBB> What made emphasising water sports the right way to promote the brand?
Michael> We felt that this approach not only exemplified the boundless spirit of adventure, but also highlighted the immense potential of the 2023 Silverado ZR2 in facilitating extraordinary experiences in even the most remote and awe-inspiring Canadian landscapes.
With that in mind, leaning on the expertise of these athletes, we embarked on an audacious venture of jet-boarding on a Canadian glacial lake - an endeavour that had never been attempted before. The icy waters provided a breath-taking backdrop for this ground-breaking feat, and our athletes fearlessly rode the jet boards, showcasing their exceptional skills while navigating the pristine, crystal-clear glacial lake.
But our ambition didn't end there. Our divers skilfully shot our jet-boarders from underwater, while other members of the crew camped overnight in the wilderness to capture wildlife, time-lapses, and other awe-inspiring elements.
LBB> This sounds like quite an epic shooting experience, albeit a challenging one. How did you manage to do this all safely, while also enabling effective filming?
Michael> Safety became a paramount concern for our drivers, actors, directors of photography, and the entire crew. Countless rehearsals were conducted to perfect our hand-off shots.
Another big thing was that instead of relying on computer-generated effects, we opted for practical camera movements, placing DPs on rigging beside side-by-side off-road vehicles while wearing full protective gear, as well as inside the moving truck. The actors inside the truck played a pivotal role, skilfully passing the cameras back and forth throughout the shots.
But, we didn’t stop there. In a bold move, we even installed a camera and rig below one of the pontoons of a float-plane, obtaining a practical underwater shot as the plane took off. Many considered this feat impossible, assuming computer-generated imagery was the only alternative. And, in addition to running an array of 13 plus cameras, we incorporated an Ember for our slow-motion sequences, further enhancing the quality of these captivating moments.
LBB> With all that in mind, it’s no surprise Grayson was eager to be involved in this project. However, how did you get started when it came to the sound side of things?
Tyson> This was a dream project to work on from an audio point of view! From the first briefing, we knew that the sound of the ZR2 was going to be the hero, and the challenge - to make sure that we found the right balance of music and detailed sound design. It was clear the team at McCann were on board with leaning into all the audio explorations needed to bring this spot to life. Their attention to detail inspired us to take this to new heights with the meticulous treatment of all aspects of the audio.
LBB> Notably, this spot saw you involved in three major ways, doing specialised vehicle audio capture, foley artistry, and scoring original music. Where does one begin with an ask like this? How did you get started?
Tyson> The simple answer is…TEAM. Without a solid, versatile, and experienced team, none of this would be possible. From the beginning, our playground felt limitless, but we had to be strategic about the process and have precision alignment while on a parallel path of production within each area of audio. While one part of the team worked on SVAC (Specialised Vehicle Audio Capture), the other parts did foley, music and sound design. As such, we were able to keep things progressing while having continued dialogue with the entire team along the way.
This was another advantage we had on this project - the creative team at McCann, the director, the editor… we all had multiple calls together throughout the whole process which created a synergy not often achieved given the timelines we are usually up against.
Adding to the uniqueness of this opportunity was our innovative use of the truck's sounds as an instrument. By establishing the truck's voice as the central element, we crafted a toolkit from which to build, allowing all other elements to seamlessly support and enhance the commercial. This intentional focus on the hero's voice provided a cohesive foundation, enabling us to orchestrate a harmonious blend of sound elements throughout the entire production.
LBB> Tell us about the sound recording process itself! What was it like spending three days on the road with the ZR2, and from a logistical standpoint, how did you accomplish this?
Vlad> Our team of sound designers hit the road with the ZR2 in remote Ontario, Canada and spent three days recording a library of sounds from the truck. On our first day, we scouted locations to ensure where we recorded from was quiet with little traffic on the road and in the sky. Our second day, we tested mics and recorded the interior and exterior sounds of the vehicle. Finally, on our third day, we spent hours driving in varying environments on different surfaces and conditions, capturing different perspectives.
LBB> In particular, were there any sounds that were especially hard to capture? And do you have any anecdotes from the time on the road?
Vlad> As always, the challenge with vehicle recording is first and foremost the wind noise! So we used lots of wind protection and careful mic placement. It all worked exceptionally well. The second challenge was securing the mics in position and away from damage while driving on different roads at different speeds. For this recording, we spent most of the time on gravel roads, which are not only bumpy, but send lots of gravel flying in all directions! So we had to make sure all microphones would not move.
LBB> Tell us a bit more about the foley artistry. How do you approach something like this? Were there specific sounds you knew you wanted ahead of time, or specific things you knew you’d want to cover up?
Vlad> As we received the first cuts and started to edit the sound effects (a process that took several days), it was then time to bring the power of the truck to life with our foley artists. Their main focus was the tires navigating different movements on dirt, water, rocks, and debris. Every little detail was given time and attention to create an immersive soundscape and bring another level of intimacy for the viewer.
LBB> With regards to composition, instrumentally speaking, how did you approach finding the right sound?
Igor> With the truck as the hero, there was a careful dance between the sound design and the score. The creative team wanted an epic and cinematic piece that first established an undercurrent of adventure, before carefully shifting between the dramatic and intimate moments/situations the ZR2 and characters found themselves in. However, the sound design was doing a lot of the heavy lifting, so at times, the music needed to be mindful of getting out of the way of the truck.
To capture those contrasting moments, we used what one could argue is the language of cinematic music today - the juxtaposition of very expansive sounds with extremely up-close and detailed instrumentation. You can hear that stylistic choice when the massive drums and percussion are playing behind a solo violin riffing. You can also hear that when a single nylon string guitar plays arpeggios over lush chords provided by a classical ensemble.
Additionally, no modern cinematic score goes without the use of synthesisers, which today, tend to be aggressive and mimic more organic and visceral sounds. In summary, from dramatic climbs up the rocky mountain, to a serene morning coffee after a quiet night camping in the wilderness, the music guides our excitement, anticipation and joy for the possibility of adventure.
LBB> One of the coolest aspects of the score is the one note motif that plays early on, before percussion builds it into something more intense. Why was this the right way to represent the ZR2?
Igor & Tyson> Funnily, that exact sound became known as the ‘elephant sound’ on our team! The score was fully written, but we felt it still needed a more striking, gritty element off the top. This is where we used a synth to mimic an aggressive yet organic and visceral sound. We then chose to repeat it across the spot as a signature sound.
LBB> Overall, what was the recording process like? How did it come together?
Vlad & Tyson> The voiceover was recorded to be intimate, soft-spoken, and confident. It tells the story without having to convince anyone of anything. It’s inviting the viewer to be a part of the narrative - part of the journey and adventure. There’s even a documentary quality to the VO that juxtaposes the action in the spot which we just love! Anytime we can go against what is expected, yet still be familiar by mixing genres, is a big win. And, we love finding ways of making every aspect of the work we do feel fresh for the consumer.
When it came to the mix, we did everything for Cinema in 5.1, so the final experience would be as cinematic as possible. It was mixed to be dynamic and have many layers and perspectives - with a goal being for the viewer to feel like they are right there in the scene, while at the same time, experiencing an enhanced and elevated short film. The truck is the hero, with its incredible sounding V8 engine contrasting the intimacy of the moments of serenity, all while complementing the various activities of our adventurers. At the end, we wanted to leave the viewer with an elevated heartbeat, because they were a participant in this wild ride, not just an observer.
LBB> What challenges did you face, and how did you overcome them?
Tyson> The biggest challenge was resisting the urge to push the music too upfront. Being a lover of music and recognising the value of having an upfront and riveting score, my instinct is always to provide emotional impact with music. So, exercising the discipline to maintain that was a challenge, but one that I happily embraced through the entire process.
LBB> Finally, are there any elements of the project you’re particularly proud of? And why?
Tyson> Oh, there were so many cool elements in this project that made it stand out for me. First off, it has to be the powerhouse team we had. Seriously, without their expertise and seamless collaboration, we wouldn't have pulled off half of what we did. From the outset, we had the agency’s creative team, the clients (who understood the vision), specialists working on SVAC, others on foley, and the music and sound design crew. It really was everyone doing their thing but staying connected - a dynamic dance that kept the creative juices flowing.
But, what really got me excited was turning the truck's sounds into an instrument. We made it the hero - the focal point. Once we cracked the code on its voice, everything else fell into place. It was like having a magic toolkit to play with. The whole project revolved around keeping that truck's voice in the spotlight, and weaving everything else around it. It was a blast seeing it all come together in the final commercial.
