Motion / Simponi
Taylor James collaborated with DDB Remedy London to produce this cross-platform campaign for arthritis treatment ‘SIMPONI’. Unusually bringing together live-action footage for interactive element and CGI for the print work, the concept was to create the brand name from everyday items that are often troublesome for arthritis sufferers.
We were first approached to deliver two high quality print images each with unique objects. On the success of these executions, this concept was then followed through to a 2:30min live action ‘teaser’ for the Simponi to use digitally. Delivering a cross-media campaign of this type involved tight planning right from the start ensure we maintained seamless continuity between the two mediums.
“We really enjoyed working with Taylor James and both DDB and our client were extremely happy with the result!” Anna Giardina, DDB Remedy
Credits
Client | Simponi
Agency | DDB Remedy
Complete Prod | Taylor James
Extras
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Step by Steps
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Wireframe
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Interactive
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Behind the Scenes
Blog Post
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'Behind the scenes'
BRIEF
DDB Remedy, the healthcare agency renowned for creativity, came to us to create a print & live-action campaign for arthritis treatment, SIMPONI.
The brief required 2 print executions and a 2:30 minute live-action teaser – the goal being to illustrate the brand identity with everyday items that arthritis sufferers find troublesome
OUR ROLE
The entire production was created within the Taylor James studio. From concept development through to the finished print and motion pieces….flowing smoothly from concept department, CGI team and into the photo studio to shoot the motion.
From the start we knew that the solution had to work in print (where we had flexibility to “cheat” using CG assets) AND as a motion piece – where we would be more tightly constrained by the shape and scale of physically real props.
PRODUCTION SOLUTION/
Creative Director for Simponi, Ed Taylor, describes the process: Production began with a creative brainstorm – drawing up a list of props and ideas for items that could be used to spell out the letters. The list was then whittled down based on how easy the letter might be to read, how familiar the items were and perhaps most importantly; how much of a familiar annoyance they were for arthritis sufferers to handle! We also wanted to keep a good variety of items – from home, work, play, food & drink…as well as balancing the items that are considered male or female (lipstick / handyman tools) we also needed to choose objects that were of similar physical scale, so that they would work for the motion piece, where real props would be required.
We then created photo boards of reference for each of these best candidates (for each of the SIMPONI letters) before eventually roughing up two versions of SIMPONI that fulfilled all the criteria. We looked at simplifying colour styles or tinkering with the colour of individual items to help them sit with the rest of the word. Throughout we looked to give the letters charm and tell a little bit of a story…being playful with the dots over the “i” and constantly looking for imaginative ways to arrange related items with a little wit.. We created complex letters ,such as the “M” from related items.
It was important to keep a close eye on the balance between legibility and a sense of visual discovery, we also took great care in exploring the pose and placement of our actors hands to achieve the best possible balance in the image.
In completing the print many of the letters were actually built in CG: giving ultimate control - allowing us to subtly adjust proportions: for instance, making a paint brush a little thinker in the handle, or a lipstick a little longer than the average. The real shoelaces and tape measure were very difficult to control on set and CG replicas were invaluable to create these letters whilst maintaining subtle control of every twist and turn.
The print required six different skin tones (as the artwork would be reproduced in many different global markets) and TJ took the lead in casting and directing the talent…carefully exploring different poses that would work with the props – and eventually shooting the selected poses 6 times to cover all the deliverables.
Motion Piece
Prior to the Motion shoot we had a vital day’s testing in the studio where we simply tried stuff out – to explore what might work and how best to hold items (for instance tying laces, opening bottles, spinning buttons)….this resulted in a storyboard, rough cut animatic (for timing) and a shooting list that proved invaluable when we shot for real with our “hand” talent and crew – completing the entire shoot in a single day.
We also shot HDRis on set allowing us to match lighting and reflections when placing CG elements with the photography.
RESULT/
With our creative and technical skills in-house and the complete production managed under one roof, we were able to deliver high levels of realism and a quality finish where live-action and CGI are indistinguishable from one another.
Taylor James was able to produce a harmonious photo-real multi-platform campaign for SIMPONI, integrating photography, live-action and CGI. It is our ability to efficiently blend multiple disciplines in a streamlined manner that enables us to produce the highest quality images that budgets and time will allow.
This campaign is a strong example of the key benefits an innovative and cross-disciplined creative production studio can offer in bringing a concept to life.
DDB Remedy, the healthcare agency renowned for creativity, came to us to create a print & live-action campaign for arthritis treatment, SIMPONI.
The brief required 2 print executions and a 2:30 minute live-action teaser – the goal being to illustrate the brand identity with everyday items that arthritis sufferers find troublesome
OUR ROLE
The entire production was created within the Taylor James studio. From concept development through to the finished print and motion pieces….flowing smoothly from concept department, CGI team and into the photo studio to shoot the motion.
From the start we knew that the solution had to work in print (where we had flexibility to “cheat” using CG assets) AND as a motion piece – where we would be more tightly constrained by the shape and scale of physically real props.
PRODUCTION SOLUTION/
Creative Director for Simponi, Ed Taylor, describes the process: Production began with a creative brainstorm – drawing up a list of props and ideas for items that could be used to spell out the letters. The list was then whittled down based on how easy the letter might be to read, how familiar the items were and perhaps most importantly; how much of a familiar annoyance they were for arthritis sufferers to handle! We also wanted to keep a good variety of items – from home, work, play, food & drink…as well as balancing the items that are considered male or female (lipstick / handyman tools) we also needed to choose objects that were of similar physical scale, so that they would work for the motion piece, where real props would be required.
We then created photo boards of reference for each of these best candidates (for each of the SIMPONI letters) before eventually roughing up two versions of SIMPONI that fulfilled all the criteria. We looked at simplifying colour styles or tinkering with the colour of individual items to help them sit with the rest of the word. Throughout we looked to give the letters charm and tell a little bit of a story…being playful with the dots over the “i” and constantly looking for imaginative ways to arrange related items with a little wit.. We created complex letters ,such as the “M” from related items.
It was important to keep a close eye on the balance between legibility and a sense of visual discovery, we also took great care in exploring the pose and placement of our actors hands to achieve the best possible balance in the image.
In completing the print many of the letters were actually built in CG: giving ultimate control - allowing us to subtly adjust proportions: for instance, making a paint brush a little thinker in the handle, or a lipstick a little longer than the average. The real shoelaces and tape measure were very difficult to control on set and CG replicas were invaluable to create these letters whilst maintaining subtle control of every twist and turn.
The print required six different skin tones (as the artwork would be reproduced in many different global markets) and TJ took the lead in casting and directing the talent…carefully exploring different poses that would work with the props – and eventually shooting the selected poses 6 times to cover all the deliverables.
Motion Piece
Prior to the Motion shoot we had a vital day’s testing in the studio where we simply tried stuff out – to explore what might work and how best to hold items (for instance tying laces, opening bottles, spinning buttons)….this resulted in a storyboard, rough cut animatic (for timing) and a shooting list that proved invaluable when we shot for real with our “hand” talent and crew – completing the entire shoot in a single day.
We also shot HDRis on set allowing us to match lighting and reflections when placing CG elements with the photography.
RESULT/
With our creative and technical skills in-house and the complete production managed under one roof, we were able to deliver high levels of realism and a quality finish where live-action and CGI are indistinguishable from one another.
Taylor James was able to produce a harmonious photo-real multi-platform campaign for SIMPONI, integrating photography, live-action and CGI. It is our ability to efficiently blend multiple disciplines in a streamlined manner that enables us to produce the highest quality images that budgets and time will allow.
This campaign is a strong example of the key benefits an innovative and cross-disciplined creative production studio can offer in bringing a concept to life.
PRE-PRODUCTION / AGENCY LAYOUT
PRE-PRODUCTION / SHOT PREP
PRE-PRODUCTION / SHOT PREP
PRE-PRODUCTION / LAYOUT STUDIES
PRE-PRODUCTION / PREP HANDS
PRODUCTION / ANIMATIC BREAKDOWN
PRODUCTION / CHALK RENDER 1
FINAL