Bradesco is one of the biggest banks in Brazil. We were asked to prepare 10 minutes of motion graphics content for their annual shareholders gathering. The content was not, however, only meant to fill giant screens with animations. We had to take into consideration the live dance performance which would interact with our work. This is how we did it.
Jan Rybář – VFX Supervisor
We had to tackle the challenge of having 10 dancers who were supposed to move to the motion graphics. If we had known the choreography beforehand, it would have been an entirely different process. Nevertheless, we had to go about it the other way around. We created all of the content for the dancers to improvise with. We had to take our creativity to the next level and envision the choreography- or at least an approximation of it.
Another challenge was to make an entirely different show from last year’s. For us, that meant using different software and a different technical approach. We spent the first two weeks only trying to figure out how to grasp the whole project.
We came up with a solution which was very abstract. The motion graphics had to stay true to the brief, which was the motif of stars and star clusters, as this image is very close to the brand and to the flag of Brazil. The colours had to be reflected as well, as red is the colour of the Bradesco brand. However, we could not use orange for example, which is on the red colour spectrum, but is also the colour of Bradesco’s competition. We had to face plenty of similar restrictions.
And I mustn’t forget the technical requirements of the whole project. We worked in 60 fps and an extremely high resolution of 20 000 by 1 000 pixels. Thankfully, we have an extremely efficient render farm and other technology at our disposal, allowing us to tackle such complex projects.
Furthermore, the brief kept changing, which is quite common for projects of this sort, as the whole process is influenced by the creative and technical developments made by the agencies who prepare the show. For such events, you do not know straight for the beginning how exactly the screens will look. These specifications change based on the venue and other factors, which are simply not available at the time of the briefing. Nevertheless, we had to take the placement of the screens into consideration, given that not everyone would have the same view as the event space was quite big. We also had to make sure that nobody missed the most important parts of the show. This required a lot of improvisation during the whole process.
Fortunately, we collaborated with Vladimír Jedlička, the director of the project. We have a good relationship and our working processes have somehow synced up over the past couple of years. Thanks to his ideas and direction we were able to deliver a great output that we are really proud of. To be honest, I sometimes wonder how we are able to do these kinds of projects in such a short period of time. And when you see the result, with all the lights, motion, dancers and applause at the end, you know it was worth all the hard work.
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