Vogue X St Regis Hotel|短视频|广告营销案例【ADGuider广告指南】

时尚 X 圣瑞吉斯酒店

案例简介：Quentin Jones 和 Big Buoy 因新时尚电影《 Vogue and St Regis 2019年3月18日》，伦敦现代超现实主义者 Quentin Jones, 完成庆祝罗马瑞吉酒店新时代的迷人新时尚电影，后期制作由 Big Buoy 制作。罗马。永恒之城。这里是意大利最负盛名的时装屋，也是美学和美容的文化中心。圣里吉斯酒店，配有美丽的 Epoque 装饰和酒店受欢迎的 Bottega Veneta 套房中戴克里先浴场的壮丽景色，体现了真正的意大利辉煌。给你一个意大利超模和一个世界级的芭蕾舞演员。Paradisiac 为在酒店内部展出的前卫时尚电影做准备。我们的女主角从头到脚穿着意大利最著名的时装公司的高级时装作品，通过酒店华丽的锻铁 19 世纪电梯从地板到地板漫游, 在一连串的薄纱、褶边和羽毛中。奢华的造型反映了酒店内部镀金的魅力，随着新的友谊的形成，我们的主角在格兰德酒吧和舞厅里跳舞，与不同的工作人员在梦幻般的叙述中。导演昆廷 · 琼斯评论道，“在一个方向上拍摄时间真的很有趣，因为我知道我有时会在编辑中颠倒镜头。所以，这样，你也玩重力和因果。这是一个不寻常的项目，因为它非常重，但也是基于位置的。通常，我玩的各种效果都适用于基于工作室的镜头。Big Buoy 在这个过程中非常支持，我对等级和火焰处理后的抛光印象深刻。大印章编辑肖恩 · 加德纳指出，他在项目中扮演的最愉快的角色是 “把 '编辑' 规则手册扔出窗外，解释道,“我有很多自由来玩这些镜头，尝试一些疯狂和有趣的事情。与昆廷合作制作一部有如此多创作自由的电影是一次很棒的经历，这让我真正质疑了在编辑中可以实现什么的参数。 “大浮标颜色，马克 · 霍罗宾，补充说,“这是一份特别愉快的工作，因为主角的旅程带我们经历了许多不同的环境，每个环境都需要自己独特的感觉。我们试图最大限度地利用色彩，同时点头表示有点怀旧。酒店提供了相当丰富的设计，所以我们尽量丰富。"

时尚 X 圣瑞吉斯酒店

案例简介：Quentin Jones and Big Buoy are lost in luxury with new fashion film for Vogue and St Regis 18th March 2019, London Modern day surrealist, Quentin Jones, completes captivating new fashion film celebrating the new era of Rome’s St Regis Hotel, with post-production by Big Buoy. Rome. The Eternal City. Home to Italy’s most prestigious fashion houses and a cultural hub for aesthetics and beauty. The St Regis Hotel, complete with Belle Epoque décor and stunning views of the Baths of Diocletian from the hotel’s popular Bottega Veneta Suite, epitomises true Italian splendour. Throw in an Italian supermodel and a world class ballet dancer and there you have it. The paradisiac set up for an avant-garde fashion film to be exhibited within the hotel itself. Our heroine, dressed from head to toe in haute couture creations from Italy’s most fabled fashion houses, roams from floor to floor via the hotel’s ornate, wrought iron 19th century lift, in a flurry of tulle, ruffles and feathers. The extravagant styling mirrors the gilded glamour of the hotels’ interior, as new friendships are formed, our protagonist dancing throughout the Grande Bar and Ballroom with various staff members in a dream-like narrative. Director, Quentin Jones, comments, “It was really fun playing with time-shooting things in one direction, knowing that I would reverse the footage in the edit sometimes. So, in that way, you also play with gravity and cause and effect. It was an unusual project because it was quite post-heavy, but also location based. Usually, the sorts of effects I was playing around with are applied to studio-based footage. Big Buoy were amazingly supportive in the process, and I was really impressed by how polished the piece was after the grade and flame process.” Big Chop Editor, Shaun Gardiner, notes that the most enjoyable part of his role within the project was ‘throwing the ‘editing’ rulebook out of the window, explaining, “I had a lot of freedom to play around with the footage and try some crazy and fun things. It was a great experience working with Quentin on a film that had so much creative freedom, allowing me to really question the parameters of what can be achieved in an edit.” Big Buoy Colourist, Mark Horrobin, adds, “This was a particularly enjoyable job as the protagonists’ journey took us through a number of different environments, each requiring its own particular feel. We tried to maximise colour whilst nodding toward a slightly nostalgic look. The hotel provided quite a bit of opulent set design, so we tried to maximise the richness of this where possible.”