Title | WE ARE UNDEFEATABLE |
Brand | SPORT ENGLAND |
Product/Service | SPORT ENGLAND |
Category |
B01. Brand-led Education & Awareness |
Entrant
|
FCB INFERNO London, UNITED KINGDOM
|
Idea Creation
|
FCB INFERNO London, UNITED KINGDOM
|
PR
|
FCB INFERNO London, UNITED KINGDOM
|
Production
|
KNUCKLEHEAD London, UNITED KINGDOM
|
Production 2
|
FRAMESTORE London, UNITED KINGDOM
|
Production 3
|
SWERVE REPRESENTS LTD London, UNITED KINGDOM
|
Production 4
|
SOUNDTREE MUSIC London, UNITED KINGDOM
|
Production 5
|
TRIM EDITING London, UNITED KINGDOM
|
Additional Company
|
AGE UK London, UNITED KINGDOM
|
Credits
Owen Lee |
FCB Inferno |
Chief Creative Officer |
Al Young |
FCB Inferno |
Creative Partner |
Sharon Jiggins |
FCB Inferno |
Executive Vice President |
Nikki Chapman |
FCB Inferno |
Director of Production |
Sarah Lefkowith |
FCB Inferno |
Creative Director |
Nicole Chen |
FCB Inferno |
Creative Director |
Tom Lindo |
FCB Inferno |
Strategy Director |
Lucy Turner |
FCB Inferno |
Senior Account Director |
Josie Beaumont |
FCB Inferno |
Junior Copywriter |
Sarah Bignell |
FCB Inferno |
Junior Art Director |
Lara Ashman |
FCB Inferno |
Senior Account Manager |
Imogen Armstrong |
FCB Inferno |
Strategist |
Hanna Davis |
FCB Inferno |
Broadcast Producer |
Clare Dyer |
FCB Inferno |
Creative Producer |
Laura Visick |
FCB Inferno |
Director of Innovation |
Caio Silva |
FCB Inferno |
Broadcast & Content Business Affairs |
Becci Salmon |
FCB Inferno |
Joint Design Lead |
Sarni Strachan |
FCB Inferno |
Joint Design Lead |
Mike Jenkins |
FCB Inferno |
Head of Creative Production |
Richard Bagley |
FCB Inferno |
Retoucher |
Sami Westwood |
FCB Inferno |
Associate Comms Director & Influencer Marketing |
Sophie Harris-Taylor |
FCB Inferno |
Photographer |
Simon Bourne |
FCB Inferno |
Colourist |
Jessica Vile |
Framestore |
Colourist |
Jason Farrow |
Framestore |
Flame |
Sian Jenkins |
Framestore |
Producer |
JJ Augustavo |
Knucklehead |
Director |
Francis Mildmay-White |
Knucklehead |
Producer |
Cat Irving |
Knucklehead |
Production Manager |
Benji Edwards |
Knucklehead |
1st Assistant Director |
Luke Jacobs |
Knucklehead |
Director Of Photography |
Tommy McMahon |
Knucklehead |
2nd Unit Camera |
Fred Cassavetti |
Knucklehead |
Art Director |
Melanie Mildway-White |
Knucklehead |
Wardrobe |
Kharmel Cochrane |
Knucklehead |
Casting Director |
Martin Gibbons |
Knucklehead |
Casting Director |
Jordan Maxwell |
Knucklehead |
Casting Director |
Luis Almau |
Soundtree Music |
Music Arranger |
Henning Knoepfel |
Soundtree Music |
Sound Designer |
Jay James |
Soundtree Music |
Producer |
Vid Price |
Trim |
Editor |
Jacques Simon |
Trim |
Assistant Editor |
Polly Kemp |
Trim |
Producer |
Magda Plugowska |
Trim |
Editor (social documentaries) |
Edward Hanbury |
Tim |
Editor (social documentaries) |
Joey Henshaw |
Trim |
Editor (social documentaries) |
Lorna Searl |
Trim |
Editor (social documentaries) |
Write a short summary of what happens in the film
Our film shows the reality of what it’s like to be active with a long term health condition, featuring real people across England.
In doing so, it places all types of activity on the same level of celebration, encouraging people to celebrate every little victory, no matter how small.
Our film challenges how health conditions are depicted, featuring people across ethnic and socio-economic backgrounds, as well as age ranges.
It expands what being active looks like far outside traditional sport, including activities like playing with grandchildren and moving around the home.
And importantly, it depicts many “invisible” illnesses and their challenges, showing people’s highs as well as their lows.
Tell the jury about the creation of the original music, choice of music track or about the elements of sound design.
We knew our campaign needed a track that was nuanced, but hopeful –one that acknowledged the lows in life while celebrating the highs, both lyrically and in melody.
We settled on ‘That’s Life,” a song popularised by Frank Sinatra, based largely on the lyrics of the track. But the versions we found had too much swagger and bravado. We knew we needed to compose our own.
Working with Soundtree, we created a bespoke arrangement and recording. In our :60, we stripped the instrumentation out of the opening, allowing our singer to tenderly and sensitively open the film and punctuating our nuanced visuals.16 seconds in, the track kicks in proper, creating a genuine celebration of our audience’s varied experiences.
We paired this with selective sound design, accentuating both scene changes and health condition cues. The result: a version of “That’s Life” walking the tricky emotional balance required to land our