| Title | WE MOVE LIKE YOU MOVE |
| Brand | SEAT |
| Product/Service | SEAT |
| Category |
B05. Visual Effects |
|
Entrant
|
C14 Paris, FRANCE
|
|
Idea Creation
|
C14 Paris, FRANCE
|
|
Production
|
STUDIO 5 Paris, FRANCE
|
|
Production 2
|
PARTIZAN Paris, FRANCE
|
|
Post Production
|
MIKROS IMAGE Paris, FRANCE
|
Credits
| Alexander Kalchev |
C14 |
Executive Creative Director |
| Alexis Benbehe |
C14 |
Creative Director |
| Pierre Mathonat |
C14 |
Creative Director |
| Shanel Redzheb |
C14 |
Art Director |
| Lucie Guidon |
C14 |
Copywriter |
| Paul Ducré |
C14 |
Agency Supervisor |
| Julie Haslé |
C14 |
Agency Supervisor |
| Alexandra Lair |
C14 |
Agency Supervisor |
| Charlotte Delpon |
C14 |
Agency Supervisor |
| Dominique Castellano |
C14 |
Planner |
| Corinne PERSCH |
C14 |
Agency Producer |
| Gaëlle De Pompignan |
C14 |
Agency Producer Assistant |
| Jérôme Deplatière |
C14 |
Post-Producer |
| Marine Cremer |
Studio 5 |
Music Supervisor |
| Khalid Tahhar |
Partizan |
Producer |
| Isabelle Labeylie |
Partizan |
Production Director |
| Stella Rossini |
Partizan |
Production Coordinator |
| Yann Hurpy |
Partizan |
Production Assistant |
| Michel Gondry |
Partizan |
Director |
| Olivier Gondry |
Partizan |
Director |
| Renaud Coulon |
Mikros |
Post-production director |
| Tomek Olszowski |
- |
Photographer |
| Jason Lusty |
Seat |
Advertiser Supervisor |
| Timothée Gazeau |
Seat |
Advertiser Supervisor |
| Andrea Torlai |
Seat |
Advertiser Supervisor |
| Elise Remark |
Seat |
Advertiser Supervisor |
| Aïssata Diallo |
Seat |
Advertiser Supervisor |
| Pierre-Edouard Sabary |
Seat |
Advertiser Supervisor |
Write a short summary of what happens in the film
The film depicts how easy the short commutes become when you can choose between a car, a scooter and an kickscooter for every move you do in your everyday life. We can see many versions of one guy going to work, shopping, going out with his family, picking up his wife… everything he does in one week with his three different vehicles, overlaying and interacting in a long take.
Cultural / Context information for the jury
Recent times have outlined the need for cities’ transformation with new ways of mobility. Cars aren’t the only way anymore. People in town use more and more innovative ways of commuting : ekickscooters, electric bikes, hoverboards…In this context where cars are no longer systematically the only solution, SEAT disrupts the market by no longer being a car brand but a mobility provider. With a monthly subscription offering not only a car, but also an electric scooter and an ekickscooter, you can adapt your transportation to your journey.
Tell the jury about the visual effects and summarise any relevant challenges or techniques.
The film is a patchwork of multiple plates functioning fluidly when combined. All of the scenes have been shot many times, in camera, using motion control. Some of them were taken in real life slow motion so that we could adapt perfectly their speed to the other plates. The biggest challenge was to film the numerous versions of our protagonist in a continuous shot and then put all of them together in a single flawlessly timed final plate. Let’s also add that all of the previously mentioned plates were shot with 5 different cars and 2 different ekickscooters for our different markets.