Director Juzzy Kane and crew release fashion lifestyle commercial for Lost Little Ones
Director Juzzy Kane has partnered with lifestyle fashion brand to create a commercial for Lost Little Ones.
The campaign ‘Life is an Adventure’ is about taking the audience on a fast pace ride through the eyes of three small groups: a couple, two best friends and the crew.
Says Juzzy Kane, “Life moves forward fast so we really wanted to make the audience feel in the moment, and to remind people to live in the moment and to enjoy the ride.”
About the Team and working with small crew to pack a big punch
Lost Little Ones was filmed on location at the start of the first COVID wave in Melbourne, which was a new experience for us to see.
Lost Little Ones was filmed on location after the initial lock down in Melbourne, and was brought to life to see what was possible with the new added restrictions, but also to give the industry confidence that multi-day shoots with larger moving parts were still possible.
Says Kane: “In the current situation clients and agencies are looking to work with smaller crews, so it’s important to make sure you have the right players for the job and building a team around you that you know and trust is a big part of that.”
The project was crewed with Juzzy Kane (director), Joel Egan (DP), Alex Wilson (gaffer) along with the team from Harpy who have built a strong working relationship where the emphasis is on everyone working together as a team.
Says Kane: “Knowing what each member is capable of is key to planning out your days and what you can achieve. Having a smaller footprint also makes it easier to move around, especially when traveling to multiple locations on the same day. Although it would be nice to have a few more hands on set when it comes to packing down at the end of the day.”
Working with the talent, locations / planning and process
“It was super fun working with the talent on this shoot, making them feel comfortable on set so that they could be their true selves was key. Getting real emotions and no fake smiles. Finding the right locations is one of the hardest things in the planning process, trying to find places that unique and that are close to each other takes time. The locations needed a strong sense of change from scene to scene to keep the piece adventures and exciting.”
Shooting Full Frame Anamorphic and The Look
Lost Little One’s was shot on the recently released full frame Alexa Mini LF and was paired with a set of Vintage Anamorphics to create a stylised but grounded look.
Says Egan: “It was really important for Juzzy and I to create a strong look in camera and be able to convey the dreamy adventure elements of the piece, but also ground the piece with strong portraiture to put the audience in the mind of each of the characters.
“The major draw on shooting full frame and a larger aspect ratio is it renders skin tones and faces like nothing else, and provides a level of intimacy or almost heightened realism that makes you feel like you’re there.”
The final project was captured in a custom widescreen 2x Anamorphic 2:39 ratio conceived in testing and delivered at 16:9, & 1:1.
Says Joel Egan: “In the past there’s often been push back from clients when shooting widescreen anamorphic and delivering for all platforms due to questions surrounding resolution loss when cropping in and delivering for online; however with the jump to the Alexa Mini LF, the range of full frame options and extra resolution means there’s no question anymore.
Post production was completed at Monster and Bear in collaboration with editor/colourist Sam Mccarthy.
Says Kane: “In the edit I wanted it to feel real and for people to get lost in the adventure. The process working with Sam and the team at Monster and Bear was great. Sam just got it and brought so much to the table.”
Says McCarthy: “Working with Juzzy was a dream, we share similar aesthetics and love similar films, so when he shared a couple of the edit references I knew I was in for a treat.
“I remember in particular one of the commercial references was super inline with the stuff that I love to work on and it really inspired me. When I received the footage and went through it, it totally lined up with the look of the references which is kinda rare, and really surpassed my expectations.
“In terms of the style of the edit, pacing was always going to be key, and we took a lot of inspiration from the quick cuts and pauses where we wanted to sit on our main characters and let the shots breathe a little. It was a lot of fun experimenting with different shots in different moments, and ultimately it really helped to seal the final piece.”
Juzzy Kane is a director at Monster and Bear and co partner at harpy film with his brother Rader Kane and MR T. For more work go to harpy.com.au
@lost.little.one
Director: @juzzykane
Cinematographer: @joelegandp
1st AC: @jeon.patton
2nd AC: @joshlabita
Gaffer: @a_t_s_d_w
Runner: @mr.t
Tracking: @harpyfilm
Drone: @harpyfilm, @joshlabita, @radarkane
Production Designer & Wardrobe: @dom.ups
Post Production: @monsterandbear
Editor: @s.k.mccarthy
Colourist: @s.k.mccarthy
Music: @addzy
BTS: @bonnie.jpeg
Special Thanks: To all the talent and everyone that made this possible, @tvh_rentals for the lenses, @harpyfilm, @monsterandbear, @twosunslighting and @lost.little.one