HYUNDAI VERNA

DIRECTOR’S TREATMENT BY MEHDI

HELLO

WE APPRECIATE
that our cars are not any more a means
of transport to move us from one location
to another, we are after an experience, we want to feel safe,
comfortable and be protected from the outside world with all its noise and chaos.

Finally we are also after the feeling of power and control in our modern cars where we can have safe fun
on the roads,be it the city streets or the wonderful and lush landscape with its sweeping aspects.

We can do all of above with the Hyundai Verna.

2.
THE SCRIPT
uses a very simple and uncluttered visual language that attempts to give us
a metaphor for the qualities we are interested in conveying in the story.

The experiences are linked with the well knows visual experiences that we consider to
be perfect in expressing a simple feeling of lightness, control, power, fun and comfort.

The underlying challenge is how to represent these images that is

striking and capture the viewer’s attention right from the beginning.

3.
ROUTE 1
WE START
each spot with a very intense execution of
the suggested images such the butterfly and the maze,
I use the word intense not as an actual meaning
to the shot but the attitude we need to take in order
to make these sequences interesting and challenging
enough so the viewer will make the link between slicing
through the butter to the smooth and silent ride that
is followed in the Verna.

In principal my approach is one that will underline the feelings and

mood that is set at the front of the commercial by following the car and
showing the drive in such way that is a continuation of the opening
sequence.

For example if we use the butterfly film, we will see the butterfly in all
its delicate existence fly away and join a cluster of the same kind to
make up a wonderful shape in the environment. The car is then seen
drive calmly through this cluster without hurting the butterflies and off
it goes on its driving shots that again will be about softness and gentle
touch.

The above example should be taken as a way forward on each film

where we will draw on the strength of the first scene and come up with
solutions that helps the car to effortlessly make the transition into the
real world weather its the city scape or landscape and nature.

The car itself should be filmed in such a way that helps us to ride the
same journey that we start with from the opening sequences.
4.
 ART DIRECTION
AS MENTIONED ABOVE,
we will take motivation from the simplicity of the front
sequence and build our opening sequence in such a way that
&LOCATION
can be only described as graphic and beautiful, we want to
get rid of the clutter of the real life where we normally see
these subjects such as the butter or butterfly. We will create a
strong but simple backdrop for some and emphasise the
geometric aspect of some of the other subject such as the
Maze.

As for the environment where we see the car we will keep this
very real but look for graphic and clean shapes and feel of the
city or natural landscape. We are not after clutter to make
these real in fact we need to strip away from the distracting
elements that will make the car look ordinary. In the landscape
we will find routes that is beautiful but has a delicate presence
such as one tree by the side of the road or curved roads that
clearly defines itself over round hills like an illustrations. In the
city we need to find modern and clean locations that again
allows us to underline the simplicity of the idea and create
peaceful scenes with the car or use the perspectives to
conger up excitement and energy.

Apart from the butterfly scene I intend to shoot everything in

camera by building some of the subjects larger than life for
the camera to be able to deal with the scale such as the maze,
butter or weights. Clearly these matters are open to changes
subject to research and tests.
5.
CITYSCAPES

6.
COUNTRY LANDSCAPE

7.
CINEMATOGRAPHY
I AM AIMING FOR SOMETHING VERY HIGH-END
and polished in terms of the look and feel of the film, in this case the lighting needs to be very carefully composed
using very strong direction in order for each shot to make a statement that is full of quality and excellence. We need
to treat the opening sequence like table-top photography given that we will sometime be in macro mode we need to
make sure that the textures are underlined with the sensual and attractive lighting.

We are mainly looking at soft but directional lighting that creates textures and help to outline the shape of the objects
even the butterflies. I intend to simplify the pallet of the colours by careful choice of art direction and objects but also
I am very keen to limit the hue to a warm one where the yellow colour will be enhanced and pushed. In the grading we
will be emphasising the hue that will become a definite look for the commercial and wont look like ny other contents
on the TV. I believe that we need this simple but visible visual direction to give the idea an elegant and stylish
presence for the ideas to play comfortably and become a delight for the eyes.

If allowed I like to shoot all of the spots in anamorphic aspect that will give us a lot of width for composition and
create a natural shallow depth of field, I am after a very strong composition to make the city and the landscape very
appealing and the wide format will certainly help us get there. We will be using multi format such as the phantom to
be able to really slow the action down to a very unusual level, again this will help us to create variations and apply
speed changes of the actions in the post.

With the car we will clearly be motivated by the story and what we are trying to achieve given the subject matter but
as a whole I want to avoid the classic movements seen for car shots where the crane or rig is simply moved for the
sake of moving. We want to be very choosy with our shots where sometime we will be almost static or chasing the car
in a very considered way.

The action sequence will of course take a different shape but still I like the idea of simple and graceful angles in
contrast to manic photography that is usually used.

8.
WOMAN’S ARM
Against a simple limbo set the contour of a woman’s arm or part of the body is lit like a poetic landscape.

The hand gently touches the soft and elegant skin, as we observe we match this and marry it to the contour of a landscape with
car driving through the bends and the hills that is lit with dramatic backlight.

In this scene the car is seen taking the curves of the roads with super ease against magnificent landscapes enjoying the drive with
confidence.
9.
WOMAN’S ARM

10.
WOMAN’S ARM

11.
WOMAN’S ARM

12.
BUTTER
Clearly the butter is another metaphor for the ease and soft touch of the car.

We glide over the giant monolith of the butter block, its lit like silk with creamy texture, as we move
across the surface a giant shiny blade descends and slice through the butter with ease.

The butter gives way to a swirling image of silk that is backlit and out of this
and under or through it the car appears
and carries on its journey on the roads.

I like to see the car in a forest with trees lining the road;
this allows us to use the trees as foregrounds
giving the impression of the car
manoeuvring with ease.

13.
BUTTER

14.
BUTTER

15.
BUTTER

16.
MAZE
This scene will need to be a strong film with metallic feel and precision geometric shapes.

We start with a giant metal ball being manoeuvred easily through the walls of the giant metallic maze.
This scene is very dramatic as the ball is seen changing direction with ease.

We need to complement this opening with matching the walls of the maze with the walls of a city street as the ball rolls and
becomes the car.

The Verna is seen taking corners beautifully or moving through the traffic like a super precision instrument.
I see this scene as an example of the power and energy that the car has to offer.

17.
MAZE

18.
MAZE

19.
MAZE

20.
MAZE

21.
BUTTERFLY
As mentioned above the single butterfly is on a delicate flower, it takes off and joins a cluster
of butterfly almost looking like an ever evolving cloud, this clearly underlines the softness of the subject.

The car is then seen emerge through the cluster as it gently rolls through the butterflies parting like a cloud.

This clearly emphasise the gentle and subtle drive that car is capable of. The car eventually parts away from the butterflies and
then seen drive through the natural landscape again in a forested area with the dappled light.

22.
BUTTERFLY

23.
BUTTERFLY

24.
HEAVY DUMBBELL
A large and shinny Dumbbell is seen land in slow motion on a hard surface creating dust as it lands.
A hand merges through the cloud of dust and lifts the weight with one finger as if it weighs like a feather.

The dumbbell is then released to fall and land hard, this triggers a beautiful metallic explosion that creates a cloud that then the
car is seen shoot through and make its way on to the city streets. The car is seen speeding round street corners and taking off into
the distance mixed with blurry images of speedometer and other details of the car to help with the momentum.

As a general note please be assured that some of the features of the car that we need to underline like the airbag, electric aerial
etc. will be covered in every scene and left for the edit to include at the appropriate time

25.
HEAVY DUMBBELL

26.
HEAVY DUMBBELL

27.
ROUTE 2
THE CONCEPT
for this possible route is based on fun and lots of energy for me.

The same as the five spots this one will be also very hi end and
polished with a look that is fit to executive brands.

The casting of the film is critical and we need to find a male

personality who is charming first and great looking second!

By this I mean that there are great looking men for commercials
but sometimes there is no character that comes through leaving
us a bit dethatched with the action.

28.
LEAD CASTING

29.
WOMEN CASTING

30.
SPA SPA

31.
BARBER

32.
DENTIST 33.
 THE CHOSEN SCENES
at the moment are great and I am sure we can also come up with more suggestions.
The dentist, the spa, the massage place seem to work very well but it maybe worth
considering he is purchasing shoes, he is on his analyst couch, he is having a wet
shave at the barber, he is having his hair styled while he is describing the beat with his
head moves. Clearly these are just food for thoughts.

The transition to the driving sequence should be something a little bigger or funnier;
whilst I love the idea of the cucumber on the eyes there maybe something else like a
match effect between an outgoing shot and incoming may be spectacular.

I also like the idea that all the people who are serving him at the beginning are
women with great looks; this sets the whole thing up in a sensuous manor and leads
us to the end sequence very well.

34.
FOR THE DRIVING SEQUENCE
I feel that it essential that we keep everything up beat and energetic in comparison to the other idea. Reasonable quick successions of location changes,
and different terrene with constantly changing pace and lighting will ensure a dramatic development that leads us to the end sequence.

I like the idea that when we start our journey it begins in the country and drive through landscape and we get to the city as a matter of progression. In the
city again it’s important that we choose our locations carefully so that we are not subjected to too much clutter, we want clean and graphic cityscape.

Depending on the execution of the music I really like the idea of adding an element of fun to the overall concept of the film which is to use the music as the
source of sound that is coming from the car itself, as the car is seen in different locations we may observe something as small as leaves on the tree all move
together or a group of old men on old bikes turn into super hi-tch cyclists.

In the city we clearly can do more fun things as the car drives by like a hair dresser and how everyone’s style changes or two kids start dancing and so on. It
will be great once he reaches the girls at the end that the music changes their cloths and style into very cool girls.

The added concept is simply another suggestion and maybe we can develop this idea and make it more concise.

35.
INTERIOR CAR

36.
EXTERIOR CAR

37.
 CONCLUSION FOR
ROUTE 1

I SEE ALL FIVE SPOTS AS ELEGANT

and very simple commercials that are not cluttered with lot of shots and many angles.

The front sequence will be presented to the viewer like a beautifully shot object and
followed by car footage that allows the viewer to take it all in and enjoy the shape
and performance by not rushing through the timing.

My feeling is that each of these spots needs to be around thirty seconds so that we
linger on the timing and enjoy the concept

Thank you for reading and look forward to having a follow up chat

Mehdi

38.