| Title | SWITCH MODE |
| Brand | BENTLEY MOTORS |
| Product/Service | BENTLEY CONTINENTAL GT SPEED |
| Category |
B01. Editing |
|
Entrant
|
KEKO LONDON, UNITED KINGDOM
|
|
Idea Creation
|
KEKO LONDON, UNITED KINGDOM
|
|
Production
|
OCURENS Paris, FRANCE
|
|
Production 2
|
UNIT9 London, UNITED KINGDOM
|
|
Production 3
|
LS PRODUCTIONS Edinburgh, UNITED KINGDOM
|
|
Post Production
|
OCURENS Paris, FRANCE
|
|
Post Production 2
|
UNIT9 London, UNITED KINGDOM
|
|
Post Production 3
|
MONUMENTAL & SQUARE Paris, FRANCE
|
Credits
| Roy Cohen |
Keko London |
Executive Creative Director |
| Andrea Foresi |
Keko London |
Senior Creative, Art Director |
| Dan Bryant |
Keko London |
Senior Copywriter |
| Hamish Day |
Keko London |
Senior Account Director |
| Kirstie Dallas |
Keko London |
Head of Creative |
| Wilf Saunders |
Keko London |
Senior Account Manager |
| Prashant Yadave |
Keko London |
Head of Strategy |
| Valentin Petit |
Ocurens |
Film Director |
| Germain Robin |
Ocurens |
Producer |
| Andrew Davies |
UNIT9 |
Executive Producer |
| Adam Dolman |
UNIT9 |
Producer |
| Joe Youens |
UNIT9 |
Production Manager |
| Ben Todd |
OCURENS x UNIT9 |
DOP Lighting Cameraman |
| Benoit Finck |
OCURENS x UNIT9 |
FPV Drone |
| Maxime Caro |
OCURENS x UNIT9 |
Editor |
| Antonin Brones |
OCURENS x UNIT9 |
Editor |
| NIM - |
OCURENS x UNIT9 |
Music Artist |
| Emilien Bernaux |
OCURENS x UNIT9 |
Sound Design Arrangement |
| Arthur Paux |
OCURENS x UNIT9 |
Film Colourist |
| Jerome Franc |
OCURENS x UNIT9 |
Assistant Director |
| Joe Vickers |
OCURENS x UNIT9 |
Assistant Director |
| Steven Spencer |
OCURENS x UNIT9 |
Costumer Designer & Wardrobe Buyer |
| Shane Kelly |
OCURENS x UNIT9 |
Precision Driver |
| Ryan McMurray |
OCURENS x UNIT9 |
Sound Recordist |
| Chris Dowling |
OCURENS x UNIT9 |
Gaffer |
| Angus Walker |
OCURENS x UNIT9 |
VFX Supervisor |
| Kirk Newmann |
OCURENS x UNIT9 |
Actor |
| Ellen De Faux |
LS Production |
Producer |
Write a short summary of what happens in the film
This film brings to life how the Continental GT Speed allows our hero to make the emotional switch from going about his daily life to entering into “thrill mode” – quickly and effortlessly. As he enjoys the incredible experience of driving this extraordinary car, first in the city and then on the open road, his clothing transforms in front of our eyes from his urban outfit to his running gear – a visual representation of his transition to a state of pure enjoyment.
Cultural / Context information for the jury
The film was designed to appeal to a Modern Affluent audience – younger, more diverse and more connected than traditional luxury consumers.
Tell the jury anything relevant about the edit. Do not name the editor.
The edit was designed to mix seamless transitions and fast-paced cuts, bringing the energy required in a Bentley Continental film. While many car commercials tend to employ long and almost slow-motion shots to show each part of the car in detail, we were able to avoid this thanks to the fact that the body shape of the car was already well-known. This allowed us to take a more modern approach where the edit could become a more playful tool, focusing on the driving experience and the transformation of our character.