top of page
Once again we are very happy to present our vision on a project with great potential. As this is a new product, we have the opportunity to set an aesthetic standard with solid and fun characters. Below we will raise important points regarding the tone and suggest some ideas that we believe will enhance both the films and extra content.
In
tRO
tone and aesthetics
De Boas is a new product with another audience that demands a different approach but that preserves the Nissin identity. So we want to bet on a craft aesthetics, with a light and elegant set design, with practical effects happening on the scene that reflect the difficult routine of the consumer in a minimalist environment.
This reference can recreate a ambience with few objects, synthesizing this minimalistic and light aesthetics that we are looking for.
set design mood
For this reason, instead of calling for post production, we will carry out all the effects in a practical way through our "green men", who will generate our "nuisance" dynamics. Such as cell phone curtains opening to reveal characters, cables pulling them out of the framework and pop-up posters notifications.
practical effects mood
Here we can see how the whole movie gains a craft style with practical effects.
practical effects
Sound will also bring this analog style, since we will bring digital sounds through voices. The pop-up sounds will clearly be made by people (the green men) with different voice tones that when pulled by cables will hear a particular squeak from each green man (such as the famous Wilhelm scream). When we have a call, we can bring our characters with muffled and incomprehensible voices, increasing the playfulness of the films.
Here is a reference of funny sounds that we can use as “Voices”.
The design of the campaign already has the Nissin identity at its core, through inanimate characters (or in this case animals) being humanized. But in addition we want to bring the film style of the brand through camera movements and quick cuts that increase the feeling of a chaotic space in the first part of the film. Another Nissin concept that we want to bring is non-sense situations that we will propose next in the narrative and introduce them in a natural way without forcing the joke.
This reference updates and modernizes this style, giving authenticity to the film.
1st part
routiNe
We will follow the structure of the script by dividing our film into two moments:
At first, we will work our characters (the girls) on our minimalist sets, first presenting them and then developing their actions so that we add visual and sound layers, generating a catharsis and bringing a sense of stress to the viewer.
In the second moment, we will have a break in the rhythm, with the hands of the sloths entering the scene and then our band playing, generating a feeling of relaxation.
NarratiVe
film 1
We started with our character in a very natural way arriving home tired, full of purchases. She rests the bags on the table and one of them falls off revealing De Boas. Here we can bring a trinket that makes the product slide from the bag standing for the camera, indicating the tone of the film.
Then we see the girl on the couch working on her computer, a "green man" appears with the interface of a cell phone and a photo of her boss, indicating a call. This interface opens up like a curtain and reveals a woman in a blazer talking incisively. The girl then starts typing faster, until two other arms come out of her blouse and start typing together.
Now she gets a call from her personal trainer, who starts doing exercises showing her what she should do. The girl then begins to do her workout in front of the couch and by means of a fast speed trick we show her doing several different exercises quickly. Sit-ups, push-ups and even yoga positions.
She goes back to work on her computer and another video call comes up. Now with her friend showing a paradisiac place. Another call appears from her boyfriend.
At this moment, a sloth hand slowly enters the frame, making all the noise disappear. The girl changes her expression denoting being more relaxed while watching the product finish entering the frame in the clutches of the sloth.
film 2
In order not to repeat the situation and scenario, we can bring the character of this film on a modern office desk at her home trying to work. Then she starts to be disturbed by his cell phone.
To create a difficult routine right from the start, we want to make a sequence of fast shots with a moving camera. Accompanying her mise-en-scene: sitting on the chair, snapping her fingers, opening the computer, typing quickly, adjusting the chair.
We will do this sequence almost like a daily ritual of the character until her cell phone starts to vibrate.
When she picks up the phone the "bother" begins. As in the first film, we want to create this feeling of progressive discomfort, which increases until the moment the sloth hand enters.
Then the first person appears in the form of a popup notification. The girl makes an expression of curiosity and soon more people appear with notifications in the background. All messages are totally irrelevant, such as "Buy now", “Ask for a delivery again with us", "We have a promotion for you", "Today is your aunt's birthday", "Learn how to make money without leaving home", "Find out how to set up a website for you”, etc.
This reference updates and modernizes this style, giving authenticity to the film.
The girl starts to swipe and people with notifications fly away being pulled by cables. While they fly away more notifications enter the framework, until the background is full of notifications pushing each other and moving faster and faster. The noise of popups adds more and more to a sonic chaos. We see that the girl is swiping very quickly with her finger, but it is not enough to contain popups filling up the framework.
The idea here is that although we see these metaphors working in the background, our character only interacts with the gadgets in her hand reflecting on the actions in the background.
This is a classic sound effect used in movies in Hollywood since the Western era until nowadays feature films that we want to use when the popup guys start flying away.
When she picks up the phone the "bother" begins. As in the first film, we want to create this feeling of progressive discomfort, which increases until the moment the sloth hand enters.
Then the first person appears in the form of a popup notification. The girl makes an expression of curiosity and soon more people appear with notifications in the background. All messages are totally irrelevant, such as "Buy now", “Ask for a delivery again with us", "We have a promotion for you", "Today is your aunt's birthday", "Learn how to make money without leaving home", "Find out how to set up a website for you”, etc.
Studying the films we realize that the sequence of scenes after the sloth arm enters the frame, ends up decreasing the potential of the sloth band to enter as a relaxing factor on the characters' day. At the same time, these inserts (the poster, the claws picking grains and holding the products, the appetite appeal and the character eating) work very well as a mood that appears during the music to connect the qualities of the product to this relaxing moment.
Therefore, right after we broke the chaos of the character's routine with the paw appearing with the product, we want to bring the track starting in its first chords, while we see closed shots of sloth expressions, as in the beginning of the Cadbury film. Realizing that they are feeling the music and enjoying it. As we open the shot, we reveal that they have instruments and these animals are playing this track that we hear.
building Feeling
Once we have this band formation established, we can bring these shots in slow-motion through inserts interspersed with scenes of the sloths playing.
A sloth finishing raising a sign saying "Less sodium", a paw entering a bag of cereal grains in the best "Amelie Poulain" style, a claw holding the 3 packs in a circular camera motion, the steam coming from a plate of De Boas, the character diving a fork in the noodles and finally a close up shot of her eating it with an expression of happiness and relaxation.
Finally for the closure of the film, we will turn off the lights at the band in the end of the song and reveal a foreground the packshot (where we see two of the products) cut out by a light over a pulpit in while a hand of a sloth comes into the shot and finishes placing the last one.
instead of closing the movie with a digital logo, we could expand the practical effects to nissin's logo at the end.
2nd part
BAnd
SloThs
For this film to work we have to believe in these sloths as if they were really animals that move and express themselves. However, we can differentiate them from each other so that they each have their own personality and sympathy on their faces.
We can do this in a subtle way that almost goes unnoticed, by means of stains on their hair that refer to accessories, such as a stain that looks like a tie, another that resembles an eyeglass, a necklace, etc.
For the extra content for example, we can have signs featuring their names as jazz musicians during solos: John Chill, Miles Lazy, Louis Slowly.
We will build animatronic costumes to have more realistic expressions of the sloth anda better movement of the hands once they are playing instruments.
soundtRack
We really like the more classic jazz style, like John Coltrane, Miles Davis, Charles Mingus, Dave Brubeck and many others, for bringing class to our band, while being a musical style that brings the entire state of De Boas.
On the other hand, thinking of a younger audience that can see this musical style as “elevator music”, we want to propose a second way that modernizes jazz and mixes it with other musical genres.
00:00 / 09:42
This sound reference mixes jazz with hip hop and is very popular on the internet. It is widely used to relax while working, doing some housework or even when you are on a date with friends.
00:00 / 08:06
This reference mixes smooth jazz with hip hop and soul. It is also a very relaxing type of music that brings a very current look.
eXtra ConTent
For this content, we want to propose an idea that makes this piece another opportunity to bring the benefits of De boas, in this case, the quick preparation. Knowing that the content lasts for 3 minutes, we want to start the film with the product preparation scene with the noodles being placed in the water and the hands of a sloth holding a written sign: “While you wait for De Boas to be ready we will play a song for you to relax". Then we will make a relaxing video with our sloths playing the track, as in the 1-minute films.
Being a more extensive film, we think that in some moments we can have solos (as in a jazz jam) in which one of the sloths plays in a more energetic way, breaking with the monotony of the video and bringing peaks on the track that entertain the viewer and make him stay until the end.
We can end this film with one of the characters (one of the girls) eating his De Boas and then we see the packshot as in the smaller films.
Gracias
Recalling that here we raised some ideas to enhance this incredible campaign, but we would like to continue discussing and fine-tuning the tone with the whole team, always looking for the best for the films!
bottom of page