This film is part of a series of shorts produced for The Fine Living channel.
“Understood the brief from the off. OCP’s interpretation of the brief to the final film was brilliant. We had received cheaper quotes to the brief, but the quality of OCP’s interpretation instilled confidence that we would be working with experts that would deliver and have an easy working relationship” Heather Pilkington, Digital Account Manager, Bluestone 360
1000 Heads, the leading Word of Mouth agency approached OCP to turn their client’s storyboard into a reality, fast! The storyboard was for the launch of the Benefit BrowMobile online competition. As a full-service production house we took care of everything: casting, location and filming. One week later we found ourselves in the middle of Dartmoor, with a PINK Land Rover and a lady with serious eye brow issues. Post-production was also done in-house. Brows Rule!
Agency: 1000 Heads
Production company: OCP
Post Production: OCP
Director: Suki Singh
DOP: David McDowall
Executive Producer: Caroline Yearsley (OCP)
Client: Benefit Cosmetics UK
At the start of the year Viasat World, the international TV company, launched its first ever female-focused channel Viasat Life across Africa. The channel, which covers a wide range of themes: entrepreneurship, food, self-improvement, family, home-styling and entertainment shows, came to us wanting an ident sequence that encapsulated the channel’s lifestyle content. With a two week deadline for delivery, OCP took care of everything: casting, location and production.
Production company: OCP
Post Production: VIASAT IN-HOUSE
Director: Tim Dollimore
Camera: Callum Earnshaw
Executive Producer: Caroline Yearsley (OCP)
Amanda Bluglass has just held two successful preview screenings on both sides of the Atlantic for her debut feature documentary, Out of Order. Shot over four years in the USA, this beautifully-filmed tale highlights a new wave of young lesbian, gay. bisexual and trans faith leaders in the Presbyterian Church (U.S.A.) fighting homophobia in order to become ordained pastors.
It features a cowboy who becomes the first out, gay minister in the state of Texas, a tattooed roller derbying vicar and a trans man seeking ordination. In the light of recent events in Orlando and increasing hate crimes in the name of religion, the film has more relevance now than ever. It has been entered for the autumn/winter film festival rounds and Amanda is seeking distribution for Spring 2017.
We caught up with OCP’s newest addition to the team, creative producer Ed Moorhouse and found out why he would like to have a cup of tea with Jesus……..
Tell us about your role as Creative Producer at OCP?
I have come to OCP from being a video editor and I still edit and work with graphics but I now have a creative role in the pre-production and production process. This can include directing shoots, producing projects end to end and project managing so it’s a really interesting and varied role that reflects the flexibility of OCP as a company.
What key skills have you brought to OCP?
I have brought with me an expertise in video editing and After Effects. This means that OCP can now offer AFX in-house rather than relying on freelance talent.
What are the big trends emerging in the post production world at the moment?
VR and 360 video content is becoming popular due to the range of VR options now available. I think with the release of Playstation VR and mobile phone solutions this will grow. Linked to that is AR, augmented reality, which is the natural next step from VR. Pokemon Go has recently been a huge hit in this respect and we could find video becoming an integral part of that technology. Imagine movie posters that play the trailer, or news papers with video rather than photography…….essentially Harry Potter really.
VR aside, the biggest change is in video platforms. Social media and video are becoming more and more entwined and as a result a lot of content producers are considering how their video content will be presented on mobile and Facebook etc.
What do you get up in your down time, away from work?
I’m a new dad so I don’t relax. Ever.
When I do find some time I like to train in Brazilian Jiu Jitsu which is my big obsession. I also like to play video games and generally indulge my inner geek with things I should have grown out of but never did.
and finally if you could be drinking tea with anyone right now, dead or alive, who would it be?
I would sit down and share a brew with Jesus Christ. I would just really like to know the truth about a man whose exploits (or at least documented exploits) have so heavily shaped our culture and society. Considering that 2000 years of history are directly linked to one person, I think getting to know the truth about him would really put history into context.
The Travel Channel has been moving away from the traditional travelogue programming and expanding out into more factual entertainment programming.
The name Travel is associated with holidays, guides etc but TC are more about the experience. Being there and not here and TC need to tell the viewer this.
Our challenge was to get people to recognize the Travel Channel as a factual entertainment channel. We also needed to signpost TC’s new genres and give the channel look a refresh to make the viewers excited about the channel and their programmes.
The best way to experience something is to do it, to feel it, to be part of it. Whilst we couldn’t transport every viewer to every destination in the world we could let them experience these things as close as possible.
We used clips from a point of view perspective (POV), reinforcing our travel with us and experience escapism from normal life. The viewer eels there. The clips aren’t glossy but real showing achievable real experiences in great locations
Watch the video!
Award Winning Directors Amanda Bluglass and David Betteridge talk to OCP about all things Virtual Reality
-Tell me first a bit about your own personal experience with 360 video and VR
Amanda: My own personal experience with VR was four years ago when I made a film for the 2012 Cultural Olympiad, screened in a 6 meter high, 360-degree tent. I wondered what it might be like to feel you were on the bottom of swimming pool with Tom Daley diving towards you from a 10-meter board at forty miles an hour. That piece became the award winning ‘Beneath 360’: https://youtu.be/m8pSL1osacU
Shooting 360, whatever anyone tells you, is a pain in the ass. There are numerous technical hurdles which of course can be mastered and the crew usually end up having to hide during takes and a raft of other production issues. But once you get the hang of it and most importantly understand both the limitations and the advantages, it is a fascinating medium that can create immersive stories that engage audiences in a way that traditional film cannot.
Why are you so excited by VR?
A: It’s tremendously exciting to me that in a few short years an entirely new immersive technology has evolved, unleashing revolutionary potential for digital video viewers. Anyone who has tried Virtual Reality viewers will know that it affects the senses in a way a rectangular screen cannot, connecting us to what we see and hear on a deep emotional level. Our brains are tricked into feeling and sensing what is immediate and real.
And now that YouTube’s new on-screen widget allows you to toggle inside ‘virtual’ worlds, it seems clear that soon all digital video content will be navigable, either through toggling or via head movements. The potential is hard to underestimate.
D: 360 video has been around for few years and I dabbled with it but never really saw the application for storytelling until I was introduced to Google Cardboard by a producer at Google.
The first film I watched was CGI and it was a breakthrough experience and clearly the beginning of a new medium. However it was the second film Clouds Over Sidra, a documentary set in a refugee camp in Syria documenting the experience of a teenage girls’ life in the camp that made me realise this was something that I have to get involved in.
I was no longer watching the film, I was experiencing the story. I wasn’t looking though a window into another world, I was in it. I remember taking the headset off my face and realising that the world would never be the same. This is an experience that has been echoed by many other people who have jumped into this new medium
–Lots of brands and companies are experimenting with VR but which ones are doing it right? And why?
A: VR is being used already in almost every walk of life. There are military, healthcare, education, entertainment, tourism, heritage and many more applications. But for me, the outstanding pieces are where technology and creativity combine in the hands of filmmakers who can imagine its capacity to profoundly change ideas.
A stand out for me is the Animal Rights campaign video: https://youtu.be/oLNijMgVK1U
In this VR film, the viewer experiences life as a factory farmed pig. Just 20 seconds of watching this film changed my buying habits permanently – a light bulb moment.
D: 360 video and VR is currently a hot topic for brands. Predictably for a new medium some of the early experiments, looking back on it, were a bit ropey but as brands, agencies and filmmakers begin to get their heads around the new medium some interesting content is being made.
Some drama based stories have been made but I can’t help thinking they just feel like amateur dramatics. The UN and the NY Times have created some very compelling 360 films. GoPro of course are making some great content. Although quite a few brands have made some compelling single 360 films these are the brands who are constantly creating interesting 360 programming.
A: Another great example of the power of VR was when The New York Times combined forces with director Chris Milk to create the Sundance award-winning piece, Waves of Grace, tracing the story of an Ebola survivor in Liberia. VR makes the story immediate, intimate and affecting. Instead of ‘other’, over there, and not ‘part of my experience’, it becomes felt, lived and part of viewer’s mental landscape.
-Finally what are the creative possibilities of VR from a brand/commercial perspective?
A: Marketers, branders, campaigners and advertisers should be thinking about this as a game changer. We are on the cusp of a massive disruptive force in communicating ideas, products and experiences. Within a very short time Virtual Reality will be part of our mediated existence in a way brand/commercial applications have only just started exploring. The technology will soon become widespread, but there is an immediate appetite for revolutionary, viral content. We are going to have to learn new ways to tell stories.
Virtual Reality has been called an ‘empathy machine’ where you can ‘choose your adventure’. But this is more than a fun technological revolution; it is truly about to spawn a new wave of consciousness. It has the power of a vivid dream, and our brains can’t really tell the difference.
D: There is a tendency with brands and agencies to concentrate 360 video on experiences – in a formula one car, a jet fighter etc. This is fine to introduce people to VR but it has a pretty limited appeal beyond that. 360 Video and VR is being called The Empathy Machine and I think this is where it becomes interesting – immersing the viewer in other people’s stories, taking them to places that they haven’t been, putting them in situations that they could never be in. This is a new medium not just a new filmmaking technique and it needs to be treated as such.
My advice would be to engage directors early and use directors who have 360 experience – there have been quite a few high profile flops using high end directors who do not translate to 360 as they don’t understand the medium.
If you would like to talk more about incorporating VR and 360 video into your video strategy email us at firstname.lastname@example.org
TRO approached OCP to produce a film that would promote the launch of a new retail focused division within TRO. We spent a day filming their stand space at the Retail Design Expo where they recreated a version of the sweet shop of the future. The purpose of the film was to demonstrate TRO’s expertise as THE Experience agency. This was a quick turnaround project with final delivery being within a week of filming.
Ben Taylor, Retail Experience Director, TRO said “I loved working with OCP. The whole process was seamless and the end result encapsulated exactly what I imagined. When the whole project works from start to finish without you even having to think about it, you know it’s gone well”