A glimpse through the camera, using copy overlays to compose the shot
The production crew setting up a shot in our furniture factory set
Composing the shot in our home office set
With the restrictions around shooting, we had to be sure what we were capturing would work perfectly later on. This required us to preplan every decision thoroughly to make a truly cohesive experience. Working with our digitech for both photo and video, we ended up using in-camera copy overlays to make sure shots were composed just how we needed them. Mapping out the copy, we were able to edit in real time, slightly changing a camera angle, rearranging posters in the background, or adjusting a pose.
When you run a business, you run a path only you create.
It took a lot of finessing every word, sound, and image throughout the process to make something that would stand out while remaining cohesive. When you have 30 seconds to tell a story — let alone three — every one of them is critical. To drive the energy, we used a forgotten anthem of the late 1960s. To texture our visuals, we used 16-mm film footage with mixed frame rates and strobe effects. We developed our type design to wrap our heroes, weaving messaging throughout, subtly reflecting the world around it.
Shooting in Covid has many challenges, but working through these challenges at a distance proved to be fairly easy to overcome due to the fact that our visions were so aligned.
Cait Oppermann, Photographer
Collaborating with director Terry Hall and video production partners Psyop, we experimented with exaggerated perspectives and stylized camera techniques to depict seeing things anew, approaching them from different angles — critical parts of these stories of pivoting and adapting. With photographer Cait Oppermann and photo production partners Versatile Studios, we cultivated a rich feel for our stories’ distinct colorways, designing lighting specifically to complement each palette. We wanted each detail to immerse the audiences further in these stories.
Experimenting with angle and lighting in our retailer shoot
Another glimpse into the camera at our retailer shoot
In Hall and Oppermann and their teams, we struck gold. Hall brought deep experience in crafting 30-second spots and an eagerness to break conventions. Oppermann, with an incredible wealth of knowledge and talent, collaborated with us to elevate our photography while keeping it immediate and grounded in the realities of running a business.
Teams across the board — Photo, Video, Art Direction, Design, Copy, Project Management, Marketing — helped bring this campaign to life. Every idea factored in, and trust in the team helped forge something truly unique. Trust played a huge role in The Shape of Things to Come — from seeing possibility to working together in new ways. And in that way, these new challenges didn’t end up restricting us at all. They opened us up to new ideas, new solutions, and a creative execution we’re proud of.
Campaign credits: Justin Lomax (Creative Studio Lead), Ward Sorrick (Studio Lead), Kim Miles (Photography Lead), Carl Sturgess (Video Art Director), Evan Groll (Video Producer), Amy Schacter (Post Production Supervisor), Michelle Mintz (Photo Producer), Amy Feitelberg (Photo AD), Rob Dicaterino (Photo Post Producer), Ani Espejo (PD Producer), Eileen Tjan (Group Creative Director), Sean Conroy (Group Creative Director), Neil Maclean (Freelance Art Director), Said Fayad (Art Director), Kae Yen Wong (Senior Copywriter), Jonathan Skale (Senior Copywriter), Kate Doyle (Designer), Fin Wang (Designer), Alex Sirjani (Program Manager), Lauren Weinberg (Head of Global Marketing), Mandeep Gill (Global Brand Lead), Janjay Sherman (Brand Strategist), Tracy Kim (Associate Brand Manager), Jordan Ng (Brand Manager), Nat Meier (Social), Mallory Russell (Head of Content)