In Broadcast - December 2014 - 48

I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 38 - DECEMBER 2014

N E W S

InSTUDIO

BCE Produces Commercials For Lalux
F

ollowing the commercial
produced in 2011, L alux
Assurances asked BCE to produce
two new video clips to promote their
"Lalux easy-protect" product.
This time BCE teamed up with
Wonderlandmovies (Germany) to
create a viral web campaign giving
the possibility for the viewer to
personify the main characters.
As one of the leading insurers in
Luxembourg, Lalux Assurances has
produced many commercials with
BCE, this time the company wanted
to produce two new clips, but with
a viral twist.
Keeping the ﬁlming method of
the ﬁrst episode promoting "easyprotect" in 2011, BCE produced the
clips using a ﬁrst person point of
view with the viewer seeing through
the eyes of the protagonist.
The new scenario and idea, by
Thomas Neunreither (Is it true what
they say about Luxembourg / La
bourse de Luxembourg Anniversary)
with the viral web campaign led the
production team to create a new
ﬁlming helmet.
Fully engineered by BCE, the
helmet has a Blackmagic Pocket
Cinema Camera in front of the
helmet with Zeiss Cinemizer glasses
directly connected to the camera
which allows the cameraman to
see exactly what the viewer will
see. This innovative system weighs

BCE helmet camera - the Blackmagic Pocket Cinema Camera is used with Zeiss Cinemizer glasses

less than two kilos and allows
immersive productions.
The second part of the advertising
campaign is centred on the viral
twist. Wonderlandmovies, a
Germany based company, created
a system that allows the viewers to
upload their photo and name and
make it appear directly on the actors

face, and special spaces for the text
in the video clips. Connecting to
the website www.easydate.lu, the
viewers can create their own video
and send it to their friends using
email or social networks.
"It was great to work again
with Lalux Assurances and the
Lalux easy-protect products, the

partnership with Wonderlandmovies
made a real difference for the
final project. In less than three
months the campaign was
produced and the viral mechanism
developed," commented Xavier
Thillen, Head of Production and
Postproduction at BCE.

The Duke Of Burgundy: Cinematic Heritage
P

eter Strickland follows up his
festival hit Berberian Sound
Studio with a dark melodrama.
Lensed by Nic Knowland and
featuring Sidse Babett Knudsen
(Borgen) and Chiara D'Anna, The
Duke of Burgundy is about an
intimate relationship between a
woman who studies moths and
butterﬂies and her housekeeper.
Colourist Greg Fisher of Company
3 London was tasked with crafting a
rich immersive sensory experience
using DaVinci Resolve. "The Duke
of Burgundy is a ﬁlm that examines
power and sensitivity, exploring
the lengths to which a person
can push her lover. Although the
time and location are not tightly
deﬁned, the ﬁlm appears distinctly
European," says Fisher.
"I wanted the grade to ﬁt tonally
with the design and sound illustrating
the world inhabited by the couple.
Although the palette is quite natural
and filmic, it is not completely
normal. We pushed a little colour
into areas of the exposure to ﬁnd
contrast and create a sense of
escapism from the everyday."
Due to the very dark nature of the

ﬁlm, there were several challenges
that Fisher had to overcome during
the grade. "There are a number of
night scenes, some of which were
shot at night, and some of which
are day for night shots. Thankfully
the dynamic range of the Alexa
preserves detail in the highlights
well, which allowed us to bring
down the exposure a number of
stops during the digital intermediate,
pulling detail out of the highlights."
"In certain scenes, we were trying
to darken to a point where it was
only just possible for the audience
to discern what was happening. The
idea being that you might squint
and search out specific details
in a scene, like you would when
trying to navigate your way around
an environment in near darkness.
The ﬁlm has a late summer, early
autumn feel throughout, however
not everything was shot during that
period so we had to make sure
everything was consistent in terms
of both the look and feel."
Developing the feature's very
distinctive look proved to be an
intuitive process: "We didn't discuss
many visual references at the outset,

nor did we force the grade in any
speciﬁc direction. Watching the
ofﬂine, hearing the sound design,
looking at the production design
and listening to the wonderful music
written by Cat's Eyes all helped in
developing the ﬁlm's colour palette
in quite a natural way."
"The log grading options within
DaVinci Resolve were really helpful

during the DI as I was able to quickly
shape the curve far more precisely
than if I'd hand drawn the custom
curves myself," concludes Fischer.
"We also needed to track a lot of
windows, especially on the day for
night shots and Resolve's shape
tracker made this a fairly quick and
painless process," he said.

The Duke of Burgundy graded on DaVinci Resolve

http://www.linkedin.com/pub/dir/?first=Phillip&last=Izzard&search=Go https://twitter.com/inbroadcast http://www.youtube.com/watch?v=qpzEatLsHdE&feature=youtube_gdata_player https://www.facebook.com/InBroadcast http://itunes.apple.com/gb/app/inbroadcast/id468652679?mt=8 https://play.google.com/store/apps/details?id=com.branded.inbroadcast&feature=search_result#?t=W251bGwsMSwyLDEsImNvbS5icmFuZGVkLmluYnJvYWRjYXN0Il0. http://WWW.INBROADCAST.COM http://www.bce.lu/VIDEO-LALUX-D-24102014.htm http://www.easydate.lu https://www.youtube.com/watch?v=BJI6QduAey0

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