Camera Assistant
at
Iggy Post
| Title | 77TH 77th VENICE FILM FESTIVAL - THE STORM |
| Campaign | 77TH VENICE FILM FESTIVAL - THE STORM |
| Advertiser | Rai-Radio Televisione Italiana |
| Brand | 77° Mostra Del Cinema Di Venezia |
| Date of First Broadcast/Publication | 2020 / 9 |
| Business Sector | Cinemas & Theatres |
| Tagline | Venice film festival the storm gondoliere |
| Story | This year to promote the Venice International Film Festival Rai made a 60’’ spot centred on a Gondolier facing a storm. The man manages to conquer the waves and his own fears. The text draws inspiration from Ernest Hemingway's “The Old Man and the Sea” including the line "Man is not made for defeat. A man can be destroyed, but not defeated!" With this we all are celebrating the power of life and throwing light on the importance that even though we are living in this critical dangerous time we don't lose the hope to survive and we will always fight to bring light on life. Done with Unreal Engine Tech. in a virtual production set we were able to shoot everything in real time. |
| Philosophy | This year to promote the Venice International Film Festival Rai made a 60’’ spot centred on a Gondolier facing a storm. The man manages to conquer the waves and his own fears. The text draws inspiration from Ernest Hemingway's “The Old Man and the Sea” including the line "Man is not made for defeat. A man can be destroyed, but not defeated!" With this we all are celebrating the power of life and throwing light on the importance that even though we are living in this critical dangerous time we don't lose the hope to survive and we will always fight to bring light on life. Done with Unreal Engine Tech. in a virtual production set we were able to shoot everything in real time. |
| Problem | MANY PEOPLE TALKING ABOUT THE VIRTUAL-PRODUCTION TECHNIQUES USED ON THE MANDALORIAN AND WHEN HIVE DIVISION TOLD ME TO TRY THIS TECHNIQUE ON THIS WORK I TOOK THE CHANCE, WE DIDN'T HAVE A LOT OF TIME AS ALWAYS A COUPLE OF WEEK THAT MEANS TAKE THIS CHANCE OR DO NOTHING. WE TOOK THE RISK. THE ABILITY TO CAPTURE SO MUCH IN CAMERA — AS OPPOSED TO SHOOTING WITH BLUE- OR GREENSCREENS AND COMP- ING BACKGROUNDS IN LATER CAN IMMEDIATELY SEE AN IMAGE THROUGH THE LENS THAT IS VERY CLOSE TO A FINAL RESULT WAS AMAZING. WE WERE ABLE TO CREATE ON SET, IN REAL TIME, A LOT OF THE CG THAT OTHERWISE WOULD TAKE A LOT OF TIME AND MONEY TO BE POST PRODUCED. WE HAD RAIN, THUNDER FLASHES, A LOT OF WATER THAT WOULD BE A REALLY PROBLEM TO MANAGE IN CLASSIC BLUE SCREEN STUDIO. |
| Media Type | Television & Cinema |
| Length | |
| Soundtrack | SMIDER |
| More Information | www.danielmarini.com |
| Director | ♠Daniel Marini ♠ |
| Director of Photography (DOP) | Riccardo Topazio |
| Assistant Director | Anna Ferro |
| Director of Photography (DOP) | Lorenzo Gaviglio |
| Focus Puller | ANTONELLO CASTELLI |
| Camera Assistant | Alessio Sabatini |
| Data manager | Federico Debandi |
| Set Designer | Carolina Fanelli |
| Costume | Bianca Puca |
| Make-Up Artist | Eleonora Politi |
| Copywriter | ♠Daniel Marini ♠ |
| Voice | Giancarlo Giannini |
| Advertising Manager | PIERLUIGI COLANTONI |
| Executive Producer | Francesco Baggetta |
| Sound Designer | Guido Smider |
| Colorist | Claudio Beltrami |
| Editor | Marcello Sanna |
| Post Production | Iggy Post |
| Special Effects / VFX | Erik Caretta |
| Chief Executive Officer (CEO) | Giacomo Talamini |
| Actor / Celebrity | Davide Umiliata |