Brand | DU TELCO |
Product/Service | DU TELECOM |
Entrant | LEO BURNETT DUBAI, UNITED ARAB EMIRATES |
Category | Visual Effects |
Idea Creation
|
LEO BURNETT DUBAI, UNITED ARAB EMIRATES
|
Media Placement
|
HEARTS & SCIENCE Dubai, UNITED ARAB EMIRATES
|
PR
|
MSL Dubai, UNITED ARAB EMIRATES
|
Production
|
BIG KAHUNA FILMS Dubai, UNITED ARAB EMIRATES
|
Write a short summary of what happens in the film.
We follow the point-of-view of a construction worker. We are on a labor bus with other workers as we make our way home after a long day.
We open our wallet and look longingly at a picture of our children.
At that moment the bus we are in is involved in a gruesome accident. We are surrounded by chaos.
The next moment, we gain consciousness. We are lying in the mangled wreck of the bus. Everything around us is silent.
Then we notice a light approaching us. We realise it’s a curious onlooker with his mobile phone, filming the gruesome scene.
The POV now flips to that of the onlooker. The viewer realizes that the man is filming the laborer slipping into unconsciousness again.
Super: If it were your pain, would you share it? #PostWisely.
Cultural/Context information for the jury
Vehicle crashes are incredibly common in the UAE, and footage of accidents often emerge on social media, as it did at the beginning of 2018 after a horrendous pileup on the Dubai-Abu Dhabi highway.
This made the topic of road accidents extremely topical in our conversation about responsible social media use.
In addition, laborers are not always treated well, often seen as inferior. So beyond tackling the issue of people filming tragedies instead of taking steps to help, this film indirectly touches on the secondary social issue of labor abuse.
Tell the jury about the visual effects and summarise any relevant challenges or techniques.
We wanted our stories to be as impactful as possible, utterly visceral and completely real. So we opted for the least amount of post-production, by capturing every visual-effect on camera. We crashed busses and put several stunt men through some rigorous thrashings. We even hurled them out of the window of a moving bus.
The sound design involved a multi-channel execution to deliver a fully immersive, captivating cinematic experience.
To make the POV approach as realistic as possible, we developed a one-of-a-kind helmet rig capable of carrying a full-sized cinema camera.
Credits
Bechara Mouzannar |
Leo Burnett |
Chief Creative Officer |
André Nassar |
Leo Burnett Dubai |
Regional Executive Creative Director |
Rafael Augusto |
Leo Burnett Dubai |
Creative Director |
Anton Marais |
Leo Burnett Dubai |
Senior Copywriter |
Bruno Bomediano, Rodrigo Leal Rodrigues |
Leo Burnett Dubai |
Head of Art |
Dió Wenderly |
Leo Burnett Dubai |
Digital ACD |
John Smeddle |
Leo Burnett Dubai |
CD Copywriter |
Shadi Khermasho |
Leo Burnett Dubai |
Arabic Copywriter |
Shereen Mustafa |
Leo Burnett Dubai |
Head of TV Production |
Elham Abi Rached |
Leo Burnett Dubai |
TV Producer |
Haytham Dayeh |
Leo Burnett Dubai |
Business Lead |
Omar Kishk |
Leo Burnett Dubai |
Account Director |
Mahmoud Jaber |
Leo Burnett Dubai |
Senior Account Manager |
Danielle Jamal, Pooja Beri |
Leo Burnett Dubai |
Planners |
Ali Mostafa |
Big Kahuna Films |
Director |
Michel Dierickx |
Big Kahuna Films |
DOP |
Jonathan Ashton, Marwa Al Malik |
MSL |
Project Managers |
Walaa El Saloussy, Hossam Sherif, Haneen Abdueida |
Hearts & Science |
Project Managers |
Abdulwahed Juma |
du - Telecommunications |
Executive Vice President |
Humaida Alkhalsan |
du - Telecommunications |
Director Corporate Communications |
Rabab AlAbbas |
du - Telecommunications |
Manager Corporate Communications Projects |
Naema AlShehhi |
du - Telecommunications |
Senior Executive Corporate Communications Projects |
Links
Website URL