It is uncommon to have a lot of creative freedom in a commercial shoot. Add that to the fact you have in your hands the entire art direction for your client’s most important project. Well, that feels like a mix between uncharted territory and a dream. But it happened. Now, let me tell you how.
As with most things, it all started with a relationship and a mutual appreciation of each other's work, amplified by our love of music and HiFi.
The beginning.
Me and Livio ( Chief Designer Officer at McIntosh Group ) had the dream to do a project together for some time. We exchanged different ideas. We let them sit, marinate and then revisited them together. Finally sitting down to try and understand which ideas would work best on what. It was a long process, but it all felt like a natural crescendo. Then, I decided to do a test photo and video shoot on a pair of stunning and magnificently sounding Sf speakers.
Already knowing their sound quality was unmatched, what struck me as a visual artist was their craftsmanship, other-worldly detail and intricate use of unique natural materials. Once I saw them, something struck a chord in my creative process and I began to work.
Once we were in the studio, I started to illuminate the different materials with a single light source, moving it around the object and examining its design. I’d point the light on the different surfaces and try to understand how the various textures would react, some more mysteriously than others.
This was far from a new approach for me. It’s something I normally do when photographing any object of design, from an automobile to a pair of sneakers. But this time was decidedly different. There was symphony of impactful materials, brought together in perfect form and balance.
That's when I realized, there were two principal technical aspects at the foundation of this creative approach: a macro lens and a slow shutter light paint technique.The macro lens elevates the intricate process of finding a way merge the different materials, and the slow shutter gives a profound voice and soul to these fabulous speakers.
When Livio and Marta ( Marketing Director at Sonus faber ) saw the tests, they fell in love with them. Which for any creative is the best feeling in the world. From that point forward, we all felt confident that this was the right creative approach to tell the story of the new flagship product. At that point, we began to compose the creative process behind Suprema's launch.
The concept.
I sometimes have the pleasure of holding workshops about my career and creative process, and there is a chapter entitled "Feel the Light".
What I mean by that is that I want my lighting to be empathetic, to remind the viewer of something emotional. I want them to pick up on an unconscious, personal feeling, almost nostalgic. Where in the end, they say to themselves, "I like it, but I don't know why". It could be a recreation of the best natural light, the golden hours, as those are the moments of the day that have always inspired me. And this concept is undoubtedly the foundation of my photography.
So, with these elements in mind, both technical and emotional, I finalized the technical creative pitch and presented it to the Sf team. The creative title is: “The dawn of a new day”.
The video, in its entireity, depicts a new day from sunrise to sunset, starting with the massive speakers forming "skyline" at daybreak, then closing with the "graphic sunset". The Sf "Skyline", or "city of sounds", is a visual celebration of the brand's 40th anniversary that blends past, present and future. The history of the brand is unified to create the iconic landscape from which the new day rises.
From there, the phasing between inside and outside, between the macro lens and slow shutter, takes us on a visual journey around the four-speaker columns that form Suprema. Still based on the draft concept to elevate the craftsmanship and highlight the choice of materials, the short film celebrates the legacy of Sf artisanal design and their relentless pursuit of perfection, culminating in this apex of audio engineering.
Still, Suprema is yet to be shown in its totality. Throughout the film, we revealed its key elements, but only in the final sequence shot is it actually revealed, and with it, the most critical element to its performance: the listener.
Sonus faber Suprema from Sonus faber on Vimeo.
Thank you notes.
There are so many people I would love to thank, first and foremost Livio and Marta at Sonus faber, for believing in my vision. Without their trust and support, this would have never been possible.
Second but not less importantly, Banda and Pier, producer and executive producer who believed in it, but mostly, they believed in the process. They accepted the challenge of working with somebody who had never worked as a director before and had the desire to put a group of young and talented people together to create something special. Paolo, the director of photography, who was on board from day one, who listened to me ranting about the meaning behind the lighting techniques. Anna, the 1st AD, who helped so much to stay focused and sane during the whole process. Then Paolo's team: Irene, Luca and Riccardo. The chief electrician, also called Paolo and his team: Giampiero, Marco and Umberto. My Sardinian fellows: Mattia, Fabio and Marta. Mattia worked on brilliant editing, Fabio worked on the incredible original sound design and Marta on the behind the scenes video. Last but not least, Chiara who worked on backstage photography.
As I look back on this project, something I try to do on all of my creative works, I can’t express the excitement of stepping out into a new medium and new role. This is definitely track one on a new album in the making, which surely take unexpected turns. But I got a feeling, it’s going to be banger. Catch y’all on track 2.
Behind the scenes video by Marta Chessa.
