影片推出后，“王氏”股价节节上升，作品不断，除了再次出导林肯的新片以外，她还接拍了蒂芙尼珠宝以及麦当劳等大片，而且大部分作品都延续了她动人的叙事风格。最近她为清风纸巾拍摄的新作也不例外——呈现了人生中最重要或最细微的时刻里每个感人的瞬间。不过有别于以往推进式的叙事方式，在一分钟长的TVC里，王导尝试了“冷冻时间”的手法，在优美的钢琴旋律的配合下，让观众去解读每个定格画面背后的故事 – 爸爸给儿子的喂食、男同学背后着手紧握着情书、出嫁的女儿在父亲怀里流下的泪等。在每个冻结的场景里，“清风”都在中间默默地扮演了重要的角色。在每一帧冻结的画面里，随着摄像机的移动，某些细小的活态的元素又紧紧抓住了我们的眼球：如泪滚下脸颊的一颗眼泪和自动翻页的书本，动与静的结合中产生了奇妙的效果。
我很满意片子的效果。它达到了我预期的想像。这是我第一次与JWT和The Eye合作，这是一个难忘的经历。制作团队The Eye非常有经验，我们之间的工作配合得很好，在拍摄前就整合好前后期必须各自准备的事项，效率也很高。我们和广告公司JWT做了很充分的沟通，对影片的看法也一致，都不希望影片的效果看起来很花哨，因为这会削弱人物的情感和互动。话虽如此，我们还是做了很多后期的修图，我必须为我们的后期特效师点个赞，他的辛勤工作使冻结的效果看起来相当真实，而且不露痕迹，这才是真正费工夫的地方。
实际上，我们是同时拍了两支风格完全不一样的影片 – 另一支的形式是以手影來表現的。敬请期待噢。
客户: Breeze 清风纸巾
导演 Andrea Wang 王俞心
Last time SHP+ spoke with young Taiwanese director Andrea Wang, she had just completed work on four short films entitled “Lincoln Space”, as part of luxury car brand Lincoln’s city roadshow promotion. Beautifully shot with powerful storytelling, the shorts marked Andrea’s impressive, high profile introduction onto the Chinese commercial scene.
Since that breakout campaign, Andrea’s stock has risen steadily, following it up with another film for Lincoln, as well as work on a host of commercials for leading brands including Tiffany and McDonald’s. Her latest work, a spot for Chinese tissue brand Breeze, picks up, stylistically, where she left off from last year’s Lincoln ads. To the sound of an emotionally-charged piano melody, the minute-long TVC gently transports us through pivotal life moments – a father feeding a baby, a student nervously giving a love letter, a girl marrying and leaving the family home, an old couple still deeply in love. In each scene, the tissues play a central role. These passing moments are immortalized in time in a frozen frame, bar the moving camera and certain small elements, like a tear rolling down a cheek and the fluttering page of a book. It is a potent combination.
Devised by agency JWT and executed by production company The Eye, the film was shot across 2 days in Shanghai and represents another impressive piece on Wang’s reel. Though the ‘freeze-frame’ is now a commonly used tool in commercial filmmaking, we learned that her approach to shooting this spot was unusual. We caught up with the director to hear more about the techniques used and the challenges of the project.
SHP＋: What was the brief?
The brief was to capture certain, emotional moments of life. These moments would become frozen pictures.
SHP＋: did you achieve the freeze time effect?
We needed to first show the tissue, and then reveal the story behind it, so the camera had to make a big movement. We set up everything and asked the actors to freeze their body and facial expression at the exact, key moment. We used a high-speed camera and made it move as quickly as possible.
SHP＋: What were the main challenges during the whole process?
It is different from many other frozen moment films, which would mostly depict something happening mid-action. That would require specially set up rigs and the aim is usually to wow the audience with the impressive visual effects. Instead, we wanted to move the audience through subtle emotions and delicate expressions. One major challenge was that we needed to make the actor’s emotions ‘burst’ out, and then hold that moment. For instance, the bride really did burst into tears and the father’s eyes got wet at the same time. Luckily we captured the moment. We didn’t even need to use CG tears. That said, there was still quite a lot of work to be done in post. In every scenario, we wanted to keep some objects moving slightly to make the frozen moment more impactful by comparison.
SHP＋: Did you look at any reference?
We looked at a lot of references and even some 3D pictures, but I can’t point out a specific inspiration.
SHP＋: How do you feel about the final result? How was the experience working with the agency and production company?
I’m quite satisfied with the result; I think it fulfills my vision. It was my first time working with both the agency (JWT) and the production company (The Eye) and it was an unforgettable experience. The production house is very experienced; they were supportive and worked very efficiently. We communicated well and our visions for the film were aligned. We didn’t want the film effects to look too fancy because it would dilute our character’s emotions and interaction. That said, I must say our online editor Dai Hsu Hong worked really hard to make the effects invisible – that was truly hard work.
SHP＋: Is there anything else you would like to mention?
We actually did two completely different films at the same time – the other is played by hand shadow. Watch out, it’s coming soon 🙂