As a Tanami newbie, it’s been a baptism of fire from day one. Joining Tanami in a very busy period of production, it’s been exciting, challenging, scary and rewarding all at once. So, when Tanami was assigned a particularly technically complex production from The Leith Agency by the European Federation of Pharmaceutical Industries and Associations (EFPIA), I grabbed the opportunity with both hands.
The brief: to produce a film which celebrates 40 years of medical innovation by EFPIA.
To take on the brief, we enlisted the services of Director Patrick Killingbeck, whose unique vision brought the film to life by capturing authentic moments through beautiful cinematography. The main focus of the film was documenting a girl growing up through the decades to represent EFPIA’s 40 years of medical progress.
First and foremost, we looked at casting – finding a group of actors who could all pass as the same person at age 0, 10, 20, 30 and 40 is no mean feat, but it’s safe to say we were pretty chuffed with our final line up (we hope you’ll agree?!).
The biggest technical challenge was the double exposure element requirement by creative team Robb and Lottie. There were two main things to consider; a heavily silhouetted image on a light background to allow the archive to appear on the dark image, and secondly, carefully selected archive clips that worked with the shape of the hero clip.
The aim was to bring the viewer on a journey through the decades, from the 1970s all the way to the 00s, making clear the medical innovations made by EFPIA. Using the tagline #WeWontRest, the creative called for the use of archive historical and medical footage from each decade overlaid on the shot footage to create a double exposure effect. This evoked the feeling of moving purposefully forwards through time and the relentless pursuit of medical innovation which has characterised the last 40 years of EFPIA.
As you might imagine, this process required a huge amount of planning in the pre-production stage – would we film the archive footage as it projected live on the shoot or apply it all in post? Should we shoot on green screen? Or would white be better? At what speed should we track into our subjects? There were a lot of questions and a lot of discussion, but by bringing all of the production team together for some meticulous planning, the preparation paid off and we captured all live content in a single day.
During post, one of our biggest challenges was working on the transitions between scenes, and how we would create the illusion of pushing forward through the decades. Eventually, we settled on the fluid, stylised transitions seen in the final film, which enabled the scenes to run into one another whilst avoids harsh cuts.
Big thanks to Director Patrick Killingbeck and also our talented DOP Adric Watson. It should also be mentioned that Adric came to Edinburgh for this shoot having just picked up the Palme d’Or for Best Short Film at the Cannes Film Festival so we were delighted to be able to work with him on this.
Bring on the next technical challenge – we’re definitely ready!