Hey everybody and welcome back to our channel. In today's video, we'll show you how we created this new moon landing commercial, all from home. We'll talk about how we developed the entire campaign and came up with the concept, and also we'll talk about how we produced and directed this commercial remotely. All that can apply to projects you guys are working on, so pay close attention. But before we jump in, I just want to tell you there's a special giveaway waiting for you at the end of the video, so make sure you stick around. Now let's watch the full commercial and then we'll break it down. Imagine they had art grid stock footage in the 60's. Okay guys, how are we gonna pull off this moon landing? The hair doesn't, let's shoot it there. It's quite exotic, it's even shaped like the moon. Sam. We can use miniatures. It has to be iconic. Stanley, what do you have for us? I was thinking about art grid stock footage. You can find the most extraordinary shots in the universe. Three, two, one. Zero. Lift off, we have a lift off. Lift off on the follow 11. At one more step for stock footage, one giant thing for creating. So go to art grid now and start creating without limits. Now let's talk about the research, references, and concept development. Inspired by a scene from the show Madman, we wrote a script about a team from a creative agency trying to come up with the best way to fake the moon landing. One of the classic moon landing conspiracy theories claims that the 1969 Apollo 11 moon landing was shot in a studio and was directed by none other than Stanley Kubrick. According to this theory, Kubrick's film Masterpiece 2001, a space odyssey, only served as a research and development project into how to stage the moon landing. As a reference to that end and homage for Kubrick, we casted a Kubrick look alike which in our story presents the ultimate solution using art grid stock footage. At Chip, Stanley, what do you have for us? I was thinking about art grid stock footage. After we finished writing the script, we created a treatment with a storyboard and references to nail the look we aim for in this ad. This was super important, especially because we were working with an external production company that was located in a different country. We had to communicate each and every detail in the best way possible. The first slide in the treatment is an animatic storyboard. We create these for almost all of our productions and if you've been following us for long enough, then you're probably already familiar with them. These animated storyboards are a key component in our pre-production, since they almost perfectly represent what the final video should look like. This makes our lives so much easier during all of the production stages as it ensures everyone knows exactly how things should look like and that we're all on the same page. For this specific project because we knew we were working remotely, we first created a rough version of the animatic just to get pre-production started and later on created the more detailed animatic. By the way, if you're enjoying this video, don't forget to slap that like button and subscribe to our YouTube channel with that notification bell on to never miss another video from us. Further into the treatment, we had references for casting, wardrobe, location and art design. The whole thing needed to resemble the 60s, so we made sure we included a lot of references for that. For the office, which was the main set, we were looking for one of those old classic spaces that has wooden walls, heavy cabinets, warm tones, and some green and blue palettes. We had more references for wardrobe and art, which are very important layers in the attempt to create that 60s look. We had props like wall paintings, lamps, furniture, and even old storyboards and space miniatures. We also have references for the casting with a total of four characters in this scene. We asked different actors to send us video editions, so we can mix and match the edit and find the perfect fit for this scene. Okay, guys, what do we have? Molly. I was thinking of shooting it. Sahara Desert, it's quiet, it's exotic, and it's even shaped like the moon. Sam, we can use miniatures. It has to be iconic, big, powerful, using odd grid stock footage. You can get some of the most extraordinary shots in the universe. One casting though had to be perfect. The Kubrick look alike. We went through the entire actor's list on backstage, which is a website where you can cast actors for your projects based on location until we found the right actor. We also brought in a special effect makeup artist to make him look even closer to the real Kubrick. For the second set, we have a classic 60s American family joining together in their living room to watch the historical event. To emphasize the importance of this occasion, the scene is happening at night time, implying that the whole family is staying up just for that. The kids are dressed in pajamas and the little girl is holding her teddy bear. The young boy is also wearing an astronaut helmet, which goes to show you his excitement and anticipation for this major event. And you ready guys? Free camera to do, and you can hold your teddy bear, you can hold it, and look at the camera and action! Beautiful. Cut, we got it, okay? Cut. Okay. Ah! And look how much he's so pretty. All the actual spaceship and moon landing scenes were completely CGI and were created based on the original shots from NASA. So that's it for the treatment and concept development. Of course, we sent everything over to the newer production team, and together we closed all the pre-production elements. When working remotely, it's super important to have a lot of talks together with the production team and overall have a good communication so you can close everything and be ready for the shooting day. On the day of the shoot, we were directing and monitoring everything from home, watching the action from afar, just like the control room for the real moon landing. When doing something like this, there's a few things we recommend you should have. The most basic is of course a life-feed from the camera. This way you can always see exactly how the frame looks like at each given moment. If your film has dialogue, make sure you have a good audio signal. Also having another feed from a second wider camera showing the entire set will be super helpful. That way you'll have a better understanding of what actually happens on set. It's best to have a person on set whose only job is to be a communication channel between you and the crew on set. Also keep in mind you'll have to have a fast internet connection in a quiet place so you can focus on directing. Directing remotely can get really frustrating and tiring after a few hours. It's very different from being on set with everyone. Make sure you take necessary breaks and have everything you need to stay focused. As for the filming itself, most of the shots were pretty simple. We've used the Panasonic very cam on a Dana Dolly. For lights, we used the R.E. Skyfannel and a few aperture lights. And that's how you can create a full high-end commercial without leaving the house. We hope you enjoyed this video. If you did, slap it. If you slapped that like button and subscribe to our YouTube channel with that notification bell on, to never miss another video from us. Now let's talk about that giveaway. Five lucky winners will win. Five art grid shirts. All you need to do is comment down below and tell us what was your take away from this video. Here are the winners from our last giveaway. Congratulations to you. Until the next time, stay creative. Shoo! Worsh!