JOHNSON_ALLOUT_approach_2014

1SCJOHNSON RAID ENERGYBBDOROGER VELLOSO DIRECTOR DINAMO FILMESMAY 2104 © johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

EDIE 2.0 PROJECT 2RAID LIQUID ELECTRICtreatment best viewed in slideshow and fullscreen modes johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

intro 3It was a great pleasure to stumble upon these lms. This is that kind of project that the simplest ideas are of an ingeniousness that attracts thecuriosity of a director. And I'm very happy with the opportunity to propose a vision for these lms. Each script keeps a peculiarity, but all of themstart from an interesting and particular mood. They are extremely efficient to address communication objectives of the product. These are the sortof commercial with really clear and effective scripts and structure. Having said that, what I aim to do is to enrich them from the visual point of viewas much as possible and to invest in an approach that emphasizes a very crystalline articulation of the elements of the stories.What I present here, then, are ideas and the way I see the project. But I do not intend them to be nal - in fact, on the contrary, I hope these ideaswill work as a starting point for a creative dialogue with the agency and the client. Let's do like this: rst of all, I want to introduce some elementsthat are common to all the lms. And then, set off for what is speci c for each script.(oh, and please forgive my lapses in English - hope it does not much alter my propositions ;-) Roger www. rogeriovelloso.net johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

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THE NIGHT 5The lms are nocturnal. Great! Calm nights when thesilence is broken only by that annoying noise of aloose gnat in the room (sometimes the greatestenemy of all mankind). There is a hint of mystery inour scripts, that kind of mystery of B-movies, andpop-thrillers and noir lms. - A background that willbe important to construct the mood. Themosquitoes are there hidden, out of reach of humanmortals. I think this nighttime atmosphere shouldbe emphasized in such a way that the absurdity ofthe situations earns intensity. The photographymust be based on a few sources of light -predominantly the moonlight or street lights thatcome softly through a window; some light comingfrom another room, the door ajar, through thecracks on the oor. The exposure should be withinthe limits to perceive, with as many details it allows,our human characters lost in the darkness (or tocreate a strong contrast to the moments of lights on- in the case of the script \"Light Switch Boogie\"). Ithink this point is very important because it acts notonly as a powerful background for the idea, butcreates a perfect condition to the visualization ofthe product and its mechanism of action. johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

THE NIGHT 6These lms deal with scales. We have thehuman dimensions - the couple in bed, thearchitecture of the room, objects - and wehave that range of mosquitoes. Creating aphotographic language that deals with theseextremes leads us to fantasy lms, where thecamera can be put into unexpected positions -sometimes with macro lens, sometimes withangular ones - and creates landscapes withobjects - and insects - on the very foregroundand depths, through set focus. I like to thinkabout these aspects to nd possibledecoupages (shooting possibilities) to fullyexploit our insect character. johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

THE NIGHT 7 johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

THE PRODUCT IN ACTION 8It is very attractive the possibility of presenting the product in a way that it is completely integrated into storie,far from conventional presentations. When the All Out Liquid Electric works, we see a pixie dust that spreads.This cloud has a primordial behavior of brightness and light. I see it as it were a cloud of glowing particles thatare able to emit any light or re ect it (as a myriad of tiny mirrors). If it is made of particles - ie: we can seethrough them - it can have a good dynamic behavior and, at certain times, it takes a somewhat familiar shape(as suggested itineraries), turning in one hand for example, gaining a little more materiality to remove curtainsand involve mosquitoes. But I don’t see this transformation as something prolonged... It takes the form of ahand brie y - just enough to remove the curtain - to then assume otherwise and other movement. She isalways uid and has an engaging character. To our stories it interesting that this \"cloud\" has a particular“personality”, its own life, its intentions. It takes on shapes and changes direction as if it had its own initiative.And it's a relentless and efficient hunter. With no fear of the dark.What I nd interesting in these references is the factthat we can feel the pixie dust in space. As it isdistributed, some particles are in focus and others not.This will be helpful to make it take the form of a hand,for example. johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

THE PRODUCT IN ACTION 9I confess: I hate this lm above. But it has some scenes whith a well done pixie dust, specially this one in the frame. johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

THE PEGLER 10I love this character sadistically. Our proposal is to create it in 3D. Here some examples of 3D insects.In this way, we have more control over its reactions e acting. Of Some of them really treated like acourse, we will develop the model with your supervision in somework in progress check-points. We will be able to see together cartoon.what kind of realism we want in its shape, movements andtextures. In the development process, we can see what is moreinteresting: if it has the texture of a drawing or painting, or if itcan look like play dough in a stop-motion, or be realistic - eventhough it is a caricature. I personally like the possibility ofbuilding a being that has its forms inspired by a cartoon withsome human characteristics (he has hands, for example, two legsand big eyes) but with a realistic bug texture (well, a little bitdisgusting). Our pegler can be like a funny little monster, not socharming or friendly, with a hint of badness. But comical andagile.johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

THE PEGLER 11It is very interesting when the texture and shape become more realistic. johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

THE PEGLER 12 This is the model of a pegler already produced for other Johnson ALL OUT lm. Very funny and interesting.johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

THE PEGLER 13 I like the gist of this mosquito, its personality. It has Humour on the dash, in the form. But in the composition with real scenes, it behaves excessively like a drawing. Our contribution to this model can be to develop the texture and the body to become more realistic. Below, a study (actually a quick sketch, please) about potential of realism. If we produce it and develop it, I do not want to miss this \"look and feel\" of a cartoon. I do not want to lose Humour, but turn it into a real and funny pegler (even ominous).johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

THE PEGLER 14johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

THE PEGLER 15johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

THE PEGLER 16As inspiration for their actions, we can cite theperformances in the comedy classic adapted for themodern pace of action. In the classics is that we ndinteresting doses of ingenuity mixed with aMachiavellian behavior - a free and uid movementbetween different emotions. Speci cally in the lm\"Invisible No More\", where we have two mosquitoes,the reference can come from doubles as Laurel andHardy, Dean Martin and Jerry Lewis, Abbott andCostello. Ah, and our peglers have voices! Again, fromcomedy classics.johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

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THE COUPLE_ HUMAN BEINGS 18These character must look as if they could beanyone. It should be a representative of anentire segment of the population (ok, beingaware that we are focusing on different ethnicgroups and cultures for whom we will makethese lms) . We have to understand that hereone man is every man, the woman everywoman. Their face and their gestures will haveto be expressive enough to be able to transmitclearly how annoying a mosquito playingaround in the night is in the rst place andsecondly to show how the intervention of ALLOUT solves the problem and ensures a quietnight for the whole family. The acting must bespontaneous, graphic, humorous, but realisticin a way to keep the absurd and the fantasyworking with realism. Their actions are veryfamiliar to most of us. And this is going to bevery funny. johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

ANXIETY’S SOUNDTRACK 19OR SOUNDSCAPE OF A TERRIFYING NIGHTIn this lm, the sound design is critical. Its structure is almost like a lecture that demonstrates the difference between various types of sound. Very schematic, didactic. And this is itscharm. I imagine that the speaker can have a secret tone, almost whispering at some times, as if he were present at the scene with the viewer (a sound voyeur). By his tone of voice, werealize that he does not want to cause disturbance or to wake our couple in bed. And he speaks as if he expected the next sound, following a logical chain of events, leading us inunderstanding each category and type of noise. He can use interjections, we can hear her breathing and expectation. In fact, he can be someone we know, someone moreexperienced, but who is with us present at the scene.To give a visual support this narrative, our lm begins by presenting the façade of a house on a quiet night. As a mystery lm, the camera slowly approaches. We cut to a room wheresleeps a couple. At this point, we can dramatize a bit, with scenes in which the camera moves around the room - sometimes slowly, sometimes rapidly - searching for movements, forsomething different, from a perspective of a voyeur, stealthy, trying to discern the origin of the sounds. The cut comes with someone plugging ALL OUT Liquid Electric at the walloutlet.On a quick sequence, we see the evolution of the pixie dust. The cloud shapes and gains different directions. With the shape of a hand, it moves the curtain, exposing the infamousmosquito. The pace is being dictated by the rhythm of the voice over.Well ... at the end of our story, a couple sleeping quietly.Night. Quiet bedroom. No sound. Unless a breeze and calm breaths. = pegler lurking in the dark = someone plugging ALL OUT = a hidden mosquito dying = happy endjohnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

LIGHT SWITCH BOOGIE 20OK. This is a really funny script. Maybe because it gathers images from a very sensible observation of what happens in a sleepless night when weare attacked by mosquitoes. And the idea of constructing a narrative from the sequence of a light turning on and off is wonderful. Visually it isfantastic. I think the key point here is to differentiate lightness and darkness, light on and light off. With the light off, we have a different acousticspace: here the mosquito makes that annoying noise. It seems to play with our human characters, because when the light comes on, it simplymutes ... This damn pegler knows what he is doing. This match between \"mosquito knows\" and \"we will hunt the mosquito\" is the key to buildingthis narrative. With the light on, it is a profusion of moments that surprises our actor in a brutal hunt for the pegler. Here there is an in nite varietyof possibilities. But I really like those in which our actor is caught in the strangest and most awkward positions - yet oddly familiar - and maybethis guy can have a strange agility of the parkour, jumping over desk, chairs, curtains in surprising positions. This can make this lm amazing.This suggests an exercise in positioning the camera. I want to surprise the viewer. With the lights off, Bzzzzzz... that SOOOUNNND!Maybe this guy can have a strange agility of the parkour, jumping over desk, chairs, curtains in surprising positions. This can make this lmamazing.Once established history, we can construct scenes to assemble possible narratives. When the lights turn on, for example, at the end of thesequence, our actor can be desolated, exhausted, dropped into a chair or bedside. Or, maybe instead, in the last scene of this sequence, our actoris hanging from a curtain! Suddenly it collapses - and at the last second we see our actor falls ... Cut! Light turns off. Darkness. This time, what wehear is the sounds of fall, falling objects and glass breaking. I think this is an interesting background to precede the plugging of ALL OUT at thewall outlet,. RAID ALL OUT will restore calm in that environment.Well .. I have not forgotten the pegler behind the curtain: the menacing eyes glowing in the dark, its shadow. Waiting... and having fun. johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

LIGHT SWITCH BOOGIE 21johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

LIGHT SWITCH BOOGIE 22 <<< Walter White crazy with a y... Take a look at this point of view. Below, Federer hunting another mosquito. Some actions.Parkour: just a small dose of strangeness. This is so strange that I included it here. Just for curiosity. johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

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INVISIBLE NO MORE 24This story suggests me that deep loneliness ... A woman prepares to sleep, the room inthe half light, the husband sleeps, but she looks around knowing that something ishidden there, in their room, perhaps too close to her. Thriller... Again the reference to B-movies and some cliches that I love: the shadow of the mosquito on the wall ... or itthreateningly in the foreground, blurred and moving from one side to the other in theframe (here come to my mind some sequences from \"El laberinto del fauno\" by Guillermodel Toro, specially those that we hear everything in the dark and the movement of hiddencreatures surprises us). After moments of tension and expectation, our actress has nodoubts: she plugs ALL OUT at the wall outlet.But before that, this script proposes a very funny thing: the mosquitoes trying tosomehow induce our actress to sleep, as if they wanted to hypnotize her ... only thatterrible eyes shining slightly in the darkness, and their voices echoing: sleep well... (haveyou ever heard the laughter of the Joker in Batman from Christopher Nolan? Oh, yeah,impressive). The Faun Labyrinth by Guillermo del Toro [play] >>> johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

INVISIBLE NO MORE 25Good., And now we come to an important point of this script that has the evocative name of \"invisible no more.\"We thought too much here (my creative team and I) about what would be such x-ray effect. And we have a suggestion that has a very interesting visual potential:-What if, instead of x-ray vision, we should think about night vision? That visuality disseminated today in wargames and in the TV News? And if our pixie dust would work as a night vision lter through which nothingcould remain hidden in the darkness? I did an exercise - a draft actually. Take a look on the next slide.johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

INVISIBLE NO MORE 26johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

INVISIBLE NO MORE 27 Review the sequence in slideshow mode (03 slides) 1/3In the darkeness, two menacing eyes... johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

INVISIBLE NO MORE 28 2/3-“Whoa! Cool”. johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

INVISIBLE NO MORE 29 3/3-“I mean... ALL OUT?!” johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO

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expertise_dinamo digital TEAM 31 We love making lms! Here, a collection of scenes made at home in Dinamo using 3D techniques. As we have talented people and powerful equipment, we chose to make this entire Edie 2.0 project with our digital team. So the control is total. And it's funny. johnson_RAID LIQUID ELECTRIC / TREATMENT / DIRECTOR: ROGER VELLOSO