It must have been a hard task following on from BETC’s precocious roller blading babies spot, was it your treatment that swung it with the creatives?
For sure it was a little bit scary to come after the roller babies because it was a huge success. But, you know, we are young directors so it was very exciting. It was a big opportunity and we tried to not think too much about the pressure.
About the treatment, the creatives explained the main idea to us and we worked on that to create something in our taste, something realistic but still fun. But we have to say that the creatives were very open and so we did a perpetual ping pong together to find the best ideas.
Did you work everything out to a nano-second? Was the production a matter of superimposing decapitated babies’ heads onto dancing adults filmed in green screen? What were the nightmares of the production and how did you resolve them?
There was a lot of complicated things…
From the beginning, we wanted the babies to look as natural as possible,
So we decided to not make the faces and the clothes in 3D, all the clothes were real.
There was a lot of planning before the shoot to work out lighting and camera angles…. and you’re right every nano second was important, because the two images had to work perfectly together.
It was impossible to ask the babies to copy the acting of the adults so we did the opposite. First, we shot the babies in a studio, and then we went to Buenos Aires to shoot the adults on location facing the mirror.
We then asked our adult actors to reproduce the babies’ moves in a studio on green screen wearing larger versions of the babies clothes. We then shrunk them to become the babies bodies. In fact, it was like a huge puzzle making this video.