It’s Raining Cranberries: Behind the Split Screens on Müller
From a spoon sliding across some delicious yoghurt to a snowboarder gliding through the air. A wash of creamy yoghurt across a bunch of strawberries to waves crashing against the shore. Juicy cranberries tumbling into a bowl to raindrops against a red polka dot umbrella. These are just some of the creatively inspired nature scenes captured in Müller’s split screen campaign.
Directed by Roy Raz with production by Bites Studio, in this interview LBB is joined by the director along with Bites head of production Kuba Kozłowski to delve into the technical challenges of accomplishing these tricky shots and how they utilised the studio’s vast capabilities to achieve the final result.
LBB> Tell us about the initial brief from Müller and what ideas you first had.
Roy> The initial brief was always to combine Müller with nature, hence a split screen visual language that showcases the connection between nature and Müller. When I got the brief I started my creative process, and by the end, I had around 30 shots (60 in total - due to the split screen) and we chose the best ones with the agency.
LBB> How did the idea develop from there into the final concept?
Roy> After we approved the shots with the agency and knew the score (What A Wonderful World) we both knew the story and rhythm. At this point, Bites Studios and OTO Film productions came in, and together we explored each shot.
LBB> For this shoot, you needed to capture tabletop and live-action shots to create a perfect split screen. What were the technical challenges in this and what solutions did you come up with?
Kuba> The only technical challenge was to be aligned to the live action and stock part. The scenes we shot on the table top sets had to work well in terms of framing as well as the movement of the camera in order to work perfectly with the second part of the split screen.
We usually work with an editor on set with us. It allows us to present the complete scene to the director, agency and the client. Nearly all of our shoots have an almost final edit directly after our shoot.
LBB> For this project, you made use of all the capabilities that Bites Studios had to offer. What equipment, tools, and resources were available to you?
Kuba> Our production capabilities make us one of the biggest - if not the biggest - tabletop studios in the world. We do have a lot of in-house technical equipment such as motion controls, model movers, cameras, lights and other accessories for this type of work.
An experienced and well organised team allowed us to work simultaneously on three sets, each equipped with one of our Bolt robots, two table top sets and the live action set where one of our motion controls has been used.
Apart from the use of our moco and our Phantom cameras, our SFX technicians have created super precise rigs a couple of days before the shoot. However, not all of our resources have been used, as part of our second team was preparing for another project which was shot a few days after the Müller shoot.
LBB> What were some of your proudest moments from this project?
Roy> I think that as a director who does both tabletop and live action, it was great to combine both in such a beautiful way. Furthermore this one felt special; because it wasn't "just" beautiful tabletop shots, it had story and whimsicality in each one.
Kuba> The proudest moment for me was and always is when the director, together with the agency and client approach a new project in harmony. Meaning they like what is made and are always happy to come back with something new.
LBB> What is your personal favourite shot and why?
Kuba> I personally like the cranberries falling together with the umbrella / rain shot as both have been done as part of our tabletop shoot.
I enjoyed the testing of the rain and I know a couple of our SFX technicians feel the same, it wasn’t the easiest of shots but it was a spectacular one and a bit different from the typical macro shots we are used to.
Roy> Definitely the rain and the berries falling, the most surprising of the bunch.
LBB> What was your reaction to the finished piece?
Roy> It was a very precise and technical one, so we all knew from the start where we were heading, nonetheless, we are all very happy about the mesmerising finished product.
Kuba> I saw the offline after the end of our shoot and it already looked great, it needed a bit of online in order to make it look even better. I know post production did not have much time to finish the job but they made it in time and everything looks great.
LBB> Any other creative insights to add?
Roy> Not a creative insight - more about how wonderful it is when there is such productive teamwork. We need it on every spot, but here it felt more important and it shows - the work with Bites Studios and OTO Film combined with Jiminy Creative and the agency was a real joy.
Kuba> I am curious about what the next campaign will look like, we always want to improve and be more and more efficient on the day. The only way to achieve all this is by working with the best, for the best :)
