A behind-the-scenes look at ProConnected.
Imagine a room—four walls, a ceiling and a floor. There are no doors. Everything is white; clean, untouched and isolated. There are no outlets. The only thing in the room is a white terminal bench and a contrasting black ProConnected 4-Wheel Hubless Roller. Before we get too deep into the behind-the-scenes look at our ProConnected video, let’s quickly refresh our memories.
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Now that we’re up to speed, let’s begin. The ProConnected video is an important milestone for Incase as we continue to develop and execute branded content. Steering away from the most literal demonstrations of product features and benefits, it sets a precedent for more inventive, artistic representations that define the “what”, “why” and the problems our products are solving.
The concept driving the video is isolation. None of us are strangers to the scarcity of outlets in airports—especially when we need them most. Without any power source, we lose connectivity. The set design—developed in part by the film’s director, the Incase studio art director and Incase global creative director—consists of a completely white room that forces the viewer to reconcile with a space devoid of anything but the white terminal bench and ProConnected inhabiting it.
Precise, exact yet natural, every movement in the video took detailed planning—beginning with a shot list. The first challenge was deciding the hierarchy of product features and where they would fall in the lineup. Once determined, “we were able to set the order of precedence for demonstrating every feature,” explains Incase Studio Art Director, Nick Fillipini. Developed by the film’s director, Seth Kupersmith, the choreography mimics organic movements and interactions typically seen in airport terminals—looking around for an outlet, fidgeting with your technology, moving your luggage or tapping your feet. In doing so, the models’ motions never break from ordinary, yet clearly tell the ProConnected story.
Using the ARRI Alexa Mini and a ZEISS Standard Prime Cine lens set, we were able to capture incredible details, crisp textures and the richness of a completely white set with all-white costuming. But there’s more to the equipment than the camera and lenses themselves—a camera dolly and its track, lights, diffusion panels, balance cards, monitors, cords, etc. With each piece a part of an intricate puzzle, the crew rearranged the set scene by scene, keeping the production running smoothly. With every scene change, the bench was placed first, then the rest of the equipment was built outward.
It wouldn’t be production if there weren’t any challenges. The first challenge encountered was the choreography. One of our actors happened to also be a professional choreographer and assisted in making each bag manipulation strong enough for the camera while maintaining a natural look. The second challenge was timing—we needed to keep pace with the track overlay added in post-production. Our actor/choreographer helped keep the correct tempo throughout the prep stages, so the filming schedule stayed on track. Lastly, the lighting presented a couple difficulties—sometimes reflecting hard on the props or falling off too much. Our gaffer was always ready to reorient and readjust any lighting as necessary. Thanks to an amazing crew, with even better synergy, we tackled any obstacle as soon it appeared.