Technological development has transformed the world of photography in many ways. For the realization of catalogues, rendering has contributed to a revolution in the digital field by allowing for the creation of virtual environments, but one of photographic quality, making it no longer necessary to move between actual locations.

The initial concept envisaged several outdoor aerial shots and a purposely recorded interview which was to act as a narrative expedient. The choice we finally agreed upon required various changes, as well as the introduction of a graphic element. This came in the form of a ladybird, made with 3D technology. This gives an element of continuity throughout the entire narrative. It also provided some motion shots, and more generally, the ability to represent the course of a day's work in the life of the company.

The realization of the storyboard, in collaboration with Giancarlo Malagutti (the cartoonist of DIABOLIK and MARTIN MYSTERE, etc) established the first concrete step and so from an idea came its graphic representation. Then we hypothesized shots, sets and lighting. This was then the map of the video.

The realization of an emotional film can present major difficulties with respect to a more technical counterpart.
The creative process must respect a customer's requirements and integrate these with emotional visions that resonate with the idea of the product as well as corporate philosophy. One has to think cinematically. Difficulties are of a varying nature: it can be often necessary to use an acting component, and have something expressed by people not used to being in front of a camera. Then there was the challenge of getting them to interact with imaginary elements, such as graphics.

The Shooting

After the customary location inspections, shooting began.

Following the storyboard, we proceeded in blocks. We set up each new scene with its own ad hoc lighting, optimising spaces to bring out or hide strong or weak elements. Then we began with the seemingly endless and obsessive repetition of scenes, until for each we would achieve the desired quality.

There was much outdoor filming involved too, and at times of day that are best not remembered...


We used various instruments applied to the body of the camera, for different purposes:

  • the DRONE: to shoot bird's eye views for the externals
  • the GIMBAL: this came useful for the point-of-view shots and to simulate the flight of the ladybird
  • the DOLLY: on tracks for reverse shots and the dramatic effect conferred by the smooth movement of the carriage

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