chief_facilities_showreel

Chief Production Facility Showreel

With two large studios paired with Make-Up, Green Room and two fully equipped control rooms,11 production suites, audio studios and distribution infrastructure, Chief has all you’ll need for your next production

Chief Production Facility Showreel

With two large studios paired with Make-Up, Green Room and two fully equipped control rooms,11 production suites, audio studios and distribution infrastructure, Chief has all you’ll need for your next production

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crisp

A tasty tale of technology

Ted & Shea turn their Salad dream into reality

See how technology helped them along the way

  • Client: Telstra
  • Agency: The Monkeys
  • Director: Stu McFadyen

A tasty tale of technology

  • Client: Telstra
  • Agency: The Monkeys
  • Director: Stu McFadyen
  • Producer: Margaret Bates
  • Editor: Craig Fairfull
  • Account Manager: Ash Quinn
  • Catering: Crisp Salad

The concept:

Following the successful TV campaign for Do Your Thing – which is all about letting small businesses do what they’re good at while Telstra takes care of the tech side of things –  Telstra wanted to dig deeper and tell the stories of some real small businesses.

The brief:

Real people, real businesses and real story telling. The idea from the get go was to get a window on these peoples businesses, but more importantly their lives and let the connection with Telstra and technology fall out of that. Real fly-on-the-wall sort of stuff.

The shoot:

For a small business every minute of their day is important, so for them to give up their time for a shoot is a big ask – every lost customer is a lost opportunity. So the challenge was to shoot for 3 days in and around the business observing what they do, without getting in the way too much. We kept the crew small, shot with 2 cameras for maximum efficiency and tried to get to the heart of Crisp. From cauliflower fields to markets and trams, following Ted and Shey all over Melbourne. Seeing Ted and Shey ‘do their thing’, they’re a pretty impressive dynamic duo, it’s easy to see where their success comes from!

Crisp cuts:

2 cameras shooting over three days is a lot of shots of salad! We set about the task of crafting the stories with The Monkeys, Telstra and ourselves chopping up something that’s pretty fresh and tasty – on brand and in the sweet spot, we’re pretty happy with the end result!

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telstra_air_1

Telstra Air Educational Series

Light Painting without a light?
See how we did it.

  • Client: Telstra
  • Agency: The Monkeys
  • Director: Stu McFadyen

Telstra Air Educational Series

  • Client: Telstra
  • Agency: The Monkeys
  • Director: Stu McFadyen
  • Producer: Brendan Lasker
  • Account Manager: Ash Quinn
  • Editor & Motion graphics: John

THE CONCEPT:

Following the Telstra Air campaign launch, Chief was briefed to create a series of educational explainers to show how customers could access & benefit using the Telstra Air WiFi network.

THE BRIEF:

This was simple, use traditional long exposure light painting techniques to provide visuals for an instructional script. Sounded simple enough, however as we began drawing up story boards for the three videos at approximately one and a half minutes each, we estimated the camera shutter would have to be open for about twenty two and a half hours!!! A tough challenge for our hero talent to hold a pose for that long.

THE CHALLENGE:

It was pretty clear that we would have to come up with an alternative to real light painting, so we began playing with different techniques in post. Harder than we anticipated given the complexity of the brief.

THE SHOOT:

Leading up to the two shoot nights, we experienced dry, balmy spring weather. Come shoot night, and it was as if we had flown to Antarctica during a blizzard. It would have been unlikely the mercury lifted above 10 degrees and the second night tried even harder with the grips running out of shot bags to stop the set blowing away! Somehow the camera didn’t show the goose bumps.

THE TECH:

The end solution was shot on the Sony F5 with Cine-Primes at 25 frames per second. Lighting spill was achieved with a large Cream Source soft light from above, with some creative use of pink-gelled panel lights and LED torches. In post, the story was cut to the script then sent to graphics for the paint. Different techniques of particle emitters, stroke and light flares were combined to give the light effect. Each shot was then timed to 10 frames per second to give a stop-frame appearance. The device screens were motion tracked and added, then the plates were graded and all combined back to 25 frames per second for delivery!

Needless to say, a big effort from everyone involved for a great outcome!

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Whether its studio TV, outside broadcast, live streaming, digital media production, location filming, motion graphics & visual effects or satellite distribution: Chief works in unique and innovative ways that will unleash your creativity and open up a world of new possibilities.