Title | MERCEDES-BENZ & THE WIND |
Brand | MERCEDES-BENZ |
Product/Service | MERCEDES-BENZ |
Category |
A05. Cinematography |
Entrant
|
PUBLICIS Brussels, BELGIUM
|
Idea Creation
|
PUBLICIS Brussels, BELGIUM
|
Idea Creation 2
|
PUBLICIS EMIL Berlin, GERMANY
|
Media Placement
|
MERMADE SOUND GMBH Berlin, GERMANY
|
Production
|
PUBLICIS Brussels, BELGIUM
|
Production 2
|
PUBLICIS EMIL Berlin, GERMANY
|
Production 3
|
MJZ London, UNITED KINGDOM
|
Production 4
|
MPC LONDON, UNITED KINGDOM
|
Post Production
|
MJZ London, UNITED KINGDOM
|
Post Production 2
|
MPC LONDON, UNITED KINGDOM
|
Post Production 3
|
THE MILL London, UNITED KINGDOM
|
Post Production 4
|
SIZZER B.V. Amsterdam, GERMANY
|
Credits
Bruno Bertelli |
Publicis Emil Global |
Global Chief Creative Officer |
Andy Daley |
Publicis Emil Global |
Global Executive Creative Director |
Mischa Schreuder |
Publicis Emil Benelux |
Creative Director |
Cristiana Boccassini |
Publicis Emil Italy |
Chief Creative Officer |
Marc Van Buggenhout |
Publicis Emil Benelux |
Head Producer |
Francesca Zazzera |
Publicis Emil Italy |
Head of Production |
Fabrizio Squeo |
Publicis Emil Italy |
Editor |
Elodie Straub |
Publicis Emil Global |
Account Director, Global Content, Experience and Comms |
Davy Caluwaerts |
Publicis Emil Benelux & Nordics |
Market Acceleration Lead |
Axelle Gontier |
Publicis Emil Benelux |
Account Director |
Frederic Haesendonck |
Publicis Emil Benelux |
Account Manager |
Florian Bleher Bleher |
Mercedes-Benz |
Marketing Communications Mercedes-Benz Cars |
Stefan Brommer |
Mercedes-Benz |
Marketing Communications Mercedes-Benz Cars |
Nicolai Fuglsig |
MJZ LT UK |
Director |
Tim Wild |
MJZ LT UK |
Executive Producer |
Phedon Papamichael |
MJZ LT UK |
DoP |
Jean Clement Souret |
MPC - London |
Colourist |
Nitzan Hoffmann |
Sizzer Amsterdam/Berlin |
Music Supervisor |
Write a short summary of what happens in the film
Since inventing the car in 1886, Mercedes-Benz has been fighting the wind to improve the aerodynamics and efficiency of its cars. The switch to green electricity in its production facilities means that power struggle is transforming into a positive partnership. In celebration of this, the film pays mesmerizingly beautiful homage to this incredible force of nature, culminating in a real-life installation featuring one of Europe’s largest wind turbines (120m x 70m) transforming into the unmistakable three-pointed star logo on an epic scale. A bespoke and haunting rework of The Beatles’ anthemic Come Together adds growing tension and meaningful resolve as the film and its message builds to an inconaclastic crescendo.
Tell the jury anything relevant about the cinematography.
The aim was to combine a heightened cinematic look with epic scale and precise direction, to look for poetry down the lens and frame with composed control, even if the hero element – wind – is temperamental. The film look was to be elevated in its photographic sensibility and lighting. Every frame was to feel alive, organic and bursting with symbolic meaning. This film was not only an homage to wind, it had to encompass wonder and magnificence as it built from the calmest breath to the gust of a 120-meter wind turbine. The plan was for the filmmaking to take on the same philosophy of technical excellence and aesthetic prowess so that every shot had photographic awe while being on point with the bigger message. Wind would be the unifying motif throughout that spoke with one voice expressed through a myriad of visuals.