, the full-service production, editorial, and audio company, joined forces with Burford Advertising to create an inventive
series of two-part, cross-platform spots for Childsavers, a non-profit dedicated to helping children with developmental and emotional issues. â€œThe idea was very innovative,â€? notes Studio 108 director, Jack Hartmann. â€œThe first component is a TV spot that sets up a story about a child facing a specific challenge - such as dealing with the loss of a parent, abuse, etc. Then, at the end of the TV spot the viewer is prompted to go to childsavers.org to see the rest of the story. The long-form website spot opens with the TV commercial, and then continues in the same documentary style - following the childâ€™s progress and their interaction with Childsavers as the organization helps them get their lives back on track.
â€œWe were attracted to the project because it raises awareness of an important issue,â€? notes Hartmann, â€œAt the same time, it gave Studio 108â€™s creative team an opportunity to work on an innovative concept that bridged the gap between tradition television and the Internet to create a single cohesive message, which was a first for us.â€? The two-part spot allows the message to reach broadcast televisionâ€™s expansive audience within the timeframe of a traditional 30-second spot â€“ and then the tie-in to the webs spot provided the time needed to tell the whole story. The four two-part spots,
,' and '
â€™ â€œBurdford presented us with a great concept,â€? adds Hartmann, whose company had worked with the agency on numerous projects. â€œWe collaborated closely, developing our own storyline scenarios, and ideas about setting scenes along the way to heightened the dramatic elements of the spots.â€? Studio 108â€™s full-service approach to production, editing, audio mixing and music allowed its team to meet the challenge of a tight deadline and limited budget. Director Jack Hartmann, DP and editor Graham Copeland, and producer Ula Wozniak worked as a unit, carefully planning the logistics of the production. Hartmann directed a total of 33 scenes for the four spots in a single day. The interviews with the therapists were shot at Studio 108 in its in-house studio on the second day, and a third day was dedicated to shooting interior and exterior scenes with the kids at three locations in Richmond.
â€œWe familiarized ourselves with the locations, explored different options, and blocked out shots ahead of time, so that we could make efficient use of our time on the day of the shoot.â€? â€œEach spot had a very personal message so we really immersed ourselves in these stories to get our heads into the characters. Directing children presents its own unique set of challenges,â€? adds Hartmann. â€œ And we knew weâ€™d only have time for a few takes of each scene, so putting them at ease was key to getting natural performances. And, although creating that relaxed atmosphere and making the kids comfortable took a little time upfront, it worked: We shot almost three-dozen scenes and wrapped seven-minutes ahead of schedule.â€? Efficiently planning the logistics of a shoot during the pre-production phases of the project, enabled Hartmann to focus on directing â€“ and getting compelling performances and beautiful cinematography. Studio 108 used two cameras to create a documentary-like feel. DP Graham Copeland lensed the wide shots with the Canon 5D and Anna Kolantis operated the B-camera, a Canon 7D, fitted with close-up lens. Hartmann is skilled at capturing the small moments that make a story resonate with its audience. He added depth to the campaign with intimate shots - such as a glimpse of a child peeking through the stair railings as she witnesses a violent altercation between her mother and her motherâ€™s boyfriend and a POV shot of a violent father chasing his son down a hallway. Studio 108â€™s concept-through-completion approach affords its team the opportunity to bring their aesthetic sensibilities to every phase of the project. Graham Copeland brought the trained eye of a DP to his role as editor, manipulating the color grading of the footage to reflect the mood of each vignette as the story unfolded. The company also provided audio post production services for the project in their Pro Tools 8 suite. â€œI used a de-saturated color pallet at the beginning of the spots when the dramatic and negative elements of the story are revealed, and then progressively transitioning into
warmer tones, as the childâ€™s situation take a turn for the better,â€? says Copeland. â€œThis campaign gave Studio 108 an opportunity to bring a truly inventive concept to life, and work with a world-class agency,â€? adds Hartmann. â€œDoug Burford is in the advertising Hall of Fame for a reason. He knows how to get the most out the collaborative process when working with other creatives and makes each project the best it can be.â€? About S
: Studio 108 is a multi award-winning, full-service production company offering both the broadcast television and corporate communication arenas a dedicated one-stop approach to producing innovate, and impactful media content that consistently exceeds their expectations, not their budgets. Our unique open-architecture creative environment is structured to seamlessly take each clientâ€™s project through the pre-production, production, editorial, visual effect and audio process to completion. For addition information contact producer Ula Wozniak at 804.648.8100 or visit our
. CREDITS: CLIENT: Childsavers: PROJECT Four Broadcast TV/Internet Spots: TITLES: Length: â€˜Ellie/TV,â€™ â€˜Ellie Webâ€™ â€˜Michael/TV,â€™ Michael/Web,â€™ Jenny/TV,â€™ Jenny Web,â€™ Luther/TV,â€™ Luther/Webâ€™ AGENCY: Burford Company Advertising/Richmond- Copywriter: Doug Burford, Agency Producer: Ashley Burke PRODUCTION COMPANY: Studio 108/Richmond - Director: Jack Hartmann, Director of Photography: Graham Copeland, DP/B Camera: Anna Kolantis Producer: Ula Wozniak, Gaffer; Nick DiMartino EDITORIAL COMPANY: Studio 108/Richmond - Editor: Graham Copeland. AUDIO COMPANY: Studio 108/Richmond.