Page 38 - YVES ROCHER

The Camera Lighting & Scenes
The camera camera should have subtle and smooth movement for most scenes scenes Some scenes scenes shall be recorded with the the the still camera camera so we can focus on on the the the action and and a a a a a a a a a a a a a a a few others will have a a a a a a a a a a a a a a a bit faster even movement (like jogging in in in the the the the the forest ( ( supporting the the the brand’s organic identity) The separate videos of of nail poli- shing etc could be more of a a a a handheld feel A conscious woman who takes good actions and believes in in in « « True « « beauty from the the the inside out The camera will support support this by not being the the the protagonist but just supporting the the the lm feel so natural and ow For me me it it it it is is important that the the the video does does not not not feel feel feel to to to hectic and and with not not not to to to much movement movement so it it it it it does does not not not feel feel confusing We want to to to to avoid this this since the the the edit cuts are fast and and and we we need to to balance this this out with the the right camera camera movement movement and and and do do a a a a a a a a a a a mix between soft moves and and still camera camera for most part We want to to to be able to to to feel each each of of the the the women and and that moment in her life and and will adapt the the the camera move to to to the the the requirement of of each each scene We will record the the the the face crops crops and eyes crops crops in in in in slow slow mo mo so we we have the the the the choice after between between leaving them them in in in in in normal speed or or or or use them them in in in in in slow slow mo mo The way I envision the the the the the nal cut is is with a a a a a a a a a a a a a a a a a balance between between a a a a a a a a a a a a a a a a a few face portraits and and eyes in in in in in slow mo mo mo that that will so we we have the the the time to really feel feel that that look and and others in in in in normal speed speed with with more dynamism ( for for example hair moving with with wind feels right at at at normal speed) for for the the the the nal edit For me me like like the the the the brand the the the the camera has to be be « alive » but like like in nature be be smooth so we empathize and and and and and bond with these wo- men and and and and and the the the the message and and and and and can focus on on on them and and and and and their actions The crops of the the the the the faces and and and and and eyes should be from a a a a a a a a a a a a a a a slight different
different
angle and and and have a a a a a a a a a a a a a a a different
different
different
background background colour palette in in in the the blurred background background to give that visual variety and and and and feeling of of of us us in in in different
different
moment of of of our our day The shot angles and and and the the chosen focus lenghts of of of the the lenses are very natural and and and ne- ver to exagerated It all feels organic All will will be shot with daylight or its equal Regarding lighting lighting some scenes will will will have a a a a a a a a a a a a a subtle variations from each other but all will will remain in in in in in in in in the the universe of of soft daylight lighting lighting with no harsh shadows The The face crops crops and eyes crops crops are mainly short scenes in in in in in in in in in in timing There is some main main actions like the the the biking putting her her killer lipstick on on removing the the the haze of the the the the the mirror etc will require a a a a a a a a a a a bit more time so it it it all ows but always recorded smartly having in in in in in in mind to to be be able to to cut them short in in in in in in the the the the edit if wanted As for slow mo I I have described in in in in in in in in in the the the the indivudual actions above how I I see it it it at at this this initial state but we will get in in in in in detail in in in in in this this further Astrid Sterner