TAYCAN DESIGNFILM "POWERSTATION"
Title | TAYCAN DESIGNFILM "POWERSTATION" |
Brand | DR. ING. H.C. F. PORSCHE AG |
Product/Service | TAYCAN |
Category |
A04. Production Design / Art Direction |
Entrant
|
GRABARZ & PARTNER Hamburg, GERMANY
|
Idea Creation
|
GRABARZ & PARTNER Hamburg, GERMANY
|
Production
|
CZAR FILM Hamburg, GERMANY
|
Production 2
|
NHB STUDIOS Munich, GERMANY
|
Production 3
|
SUPREME MUSIC Hamburg, GERMANY
|
Additional Company
|
DR. ING. H.C. F. PORSCHE Stuttgart, GERMANY
|
Credits
Ralf Heuel |
Grabarz & Partner |
Chief Creative Officer |
Julica Hauke |
Grabarz & Partner |
Group Head |
Ralf Nolting |
Grabarz & Partner |
Team Lead |
Frederik Wetzel |
Grabarz & Partner |
Creative Team Lead |
Tim Lehnebach |
Grabarz & Partner |
Creative Director |
Florian Pack |
Grabarz & Partner |
CD Moving Images |
Alexander Harder |
Grabarz & Partner |
Art Director |
Filippo Rizzo |
Grabarz & Partner |
Copywriter |
Manuela Brückner |
Grabarz & Partner |
Account Manager |
Daniel Wunderer |
Grabarz & Partner |
Agency Producer |
Oliver Hoffmann |
Dr. Ing. h.c. F. Porsche AG |
Director Marketing Communications |
Ludwig Liptak |
Dr. Ing. h.c. F. Porsche AG |
Manager Media Production & Dialogue Marketing – Marketing Communications |
Marius Kreisle |
Dr. Ing. h.c. F. Porsche AG |
Marketing Communication |
- - |
CZAR Film GmbH |
Film Production |
Ben Strebel |
- |
Director |
Rina Yang |
- |
DOP Lighting Cameraman |
Thorne Mutert |
- |
Executive Producer |
Christian Brox Brochot |
- |
Executive Producer |
Jim Lerch |
- |
Postproduction Producer |
Michael Weicker |
- |
Editor |
Christian Kasten |
- |
Compositing Supervisor |
Luke Morisson |
- |
Colorist |
- - |
nhb video GmbH |
Post Production |
- - |
Supreme Music GmbH |
Music |
Johannes Röske |
nhb Ton GmbH |
Sound Engineer |
Write a short summary of what happens in the film
The Taycan is not only the ultimate expression of e-mobility, but also of Porsche’s very unique soul. So, to unveil some details of its edgy design for the very first time, the car is depicted in a suitable habitat, right where electricity is artificially generated by humans - a power station. As a first spark of electricity brings the whole scene to life, we start witnessing a series of quick scenes where details of both, the location and the car, seem to be seamlessly interacting with each other in a spectacular yet dramatic climax.
A specifically created original soul/electro music track, sung by a silky voice, plays as an emotional musical background, to give the whole scene an even more epic and classy dimension.
Cultural / Context information for the jury
The launch of the Taycan, the first all-electric Porsche model ever, was one of the most highly anticipated events of the year for the whole automotive industry. The task was to give a first highly emotional glimpse of its puristic, expressive, timeless shapes. Three attributes that describe every Porsche – but especially true to the Taycan nowadays, the newest model which has driven the brand DNA and soul into a new era. Simultaneously, we also wanted to bring the claim “Soul, electrified.” to life by capturing viewers’ eyes throughout the film, and making them almost feel part of the action itself.
Tell the jury about the production design / art direction. You may wish to comment on choices, challenges or effects.
The task is to introduce the innovative design of the Taycan, the first all-electric Porsche, as well as highlight the typical Porsche soul lying in it.
The ideal location to present its smooth futuristic shapes is an inactive powerhouse, whose evocative elements are gradually activated by the electrifying presence of the car.
Set at night, the video plays on the poetic contrast between lights and shadows, and the spectrum of impressions they generate. Flickering effect, light streaks, reflections on the car’s body and a hectic succession of details of the location and the Taycan, both external and internal, help create a dramatic crescendo.
The car is repeatedly flashed flat from different directions, and the light sources are out of frame to avoid a plain approach. The use of anamorphic lenses also enhances the overall mystical atmosphere, capturing – for instance – the tactile dimension of details like dust particles in