| Title | THE GLASS LABYRINTH |
| Brand | SANDVIK |
| Product/Service | SELF-DRIVING MINING MACHINES |
| Category |
A04. Production Design / Art Direction |
|
Entrant
|
FORSMAN & BODENFORS Gothenburg, SWEDEN
|
|
Idea Creation
|
FORSMAN & BODENFORS Gothenburg, SWEDEN
|
|
Media Placement
|
OATH Stockholm, SWEDEN
|
|
Production
|
NEW LAND Stockholm, SWEDEN
|
|
Additional Company
|
OTTO PRODUCTION Helsinki, FINLAND
|
|
Additional Company 2
|
CHIMNEY Gothenburg, SWEDEN
|
Credits
| Greger Andersson |
Forsman & Bodenfors |
Account Supervisor |
| Åsa Pedersen |
Forsman & Bodenfors |
Account Manager |
| Kim Cramer |
Forsman & Bodenfors |
Creative |
| Björn Engström |
Forsman & Bodenfors |
Creative |
| Stefan Thomson |
Forsman & Bodenfors |
Creative |
| Bjarne Darwall |
Forsman & Bodenfors |
PR-strategist |
| Peter Gaudiano |
Forsman & Bodenfors |
Digital-strategist |
| Magnus Almberg, Ingrid Arnsand Jonsson |
Forsman & Bodenfors |
Designer |
| Daniel Sjöstrand |
Forsman & Bodenfors |
Planner |
| Cecilia Svärd |
Forsman & Bodenfors |
Agency Producer |
| Casper Balslev |
Casper Balslev |
Director |
| Therese Engberg |
Therese Engberg |
Executive producer |
| Sophie Hedberg |
Sophie Hedberg |
Producer |
| Jonas Quant |
Jonas Quant |
Music |
| Niels Thastum |
Niels Thastum |
D.O.P |
| Tobias Allanson |
Tobias Allanson |
Production Designer |
| Peter Brandt |
Peter Brandt |
Editor |
| Vedran Rupic |
Vedran Rupic |
SoMe versions |
| Martin Dirkov |
Martin Dirkov |
Sound |
| Edward Negussie |
Edward Negussie |
Colorist |
| Wille Rising |
Wille Rising |
Online |
| Jessica Alm |
Sandvik |
EVP and Head of Group Communications |
| Magdalena Fahlén |
Sandvik |
VP Corporate Communications and Brand |
| Minna Rodling |
Sandvik |
Brandmanger |
| Marie Brodin |
Sandvik Mining and Rock Technology |
VP Marketing and Communications |
Tell the jury about the production design/art direction.
The idea is entirely dependent on the set design and the art direction of the labyrinth. Since the mining machine in so huge (11 x 3 meters, 38 tonnes), the glass labyrinth had to be enormous–within a very limited budget. And the layout of labyrinth had to be carefully designed to create all the curves and bends needed to show the capabilities of the self-driving system.
Another challenge was that the glass walls had to uneven and asymmetric to imitate the walls in a real mine–otherwise the algorithms of the self-driving system wouldn’t work.
The solution was to use plain window glass, angeled randomly. 589 glass sheets, each 2,8 m x 0,6 m, creating a striking visual effect.
Write a short summary of what happens in the film
Trying to learn everything about our new client Sandvik, we went to their test mine in Finland. And found out that they have had self-driving vehicles for 20 years, hidden deep down below. So, both we and Sandvik thought it was a good idea to bring one of those mining machines to the surface and let it navigate a fragile glass labyrinth—with no driver.
The film documents the challenge in a very visual way: Could this giant vehicle drive the twists and turns of the narrow labyrinth all by itself? Even the slightest error or touch of the glass would bring everything crashing down.