Lucardi - Iets Nieuws Voor Jezelf
Together with Fitzroy we made the second Lucardi film in the series. It introduces the jeweller's new collection, built around the line from the voice-over about treating yourself or surprising someone close. The commercial, its billboard and the social cuts were made entirely with AI, painted in the lilac that has become Lucardi's own.
Lucardi - Iets Nieuws Voor Jezelf
Together with Fitzroy we made the second Lucardi film in the series. It introduces the jeweller's new collection, built around the line from the voice-over about treating yourself or surprising someone close. The commercial, its billboard and the social cuts were made entirely with AI, painted in the lilac that has become Lucardi's own.
Lucardi - Iets Nieuws Voor Jezelf
Together with Fitzroy we made the second Lucardi film in the series. It introduces the jeweller's new collection, built around the line from the voice-over about treating yourself or surprising someone close. The commercial, its billboard and the social cuts were made entirely with AI, painted in the lilac that has become Lucardi's own.
Lucardi - Iets Nieuws Voor Jezelf
Together with Fitzroy we made the second Lucardi film in the series. It introduces the jeweller's new collection, built around the line from the voice-over about treating yourself or surprising someone close. The commercial, its billboard and the social cuts were made entirely with AI, painted in the lilac that has become Lucardi's own.
The Challenge: Show What Is New
The first film followed one woman through her morning. The second had a different job: tell customers that the shop is full of new pieces, and make that feel personal.
Some jewelry is bought as a treat for yourself and some as a gift, and the film needed room for both. It also had to live in the same world as the first film, so viewers recognise the series at a glance.
The Challenge: Show What Is New
The first film followed one woman through her morning. The second had a different job: tell customers that the shop is full of new pieces, and make that feel personal.
Some jewelry is bought as a treat for yourself and some as a gift, and the film needed room for both. It also had to live in the same world as the first film, so viewers recognise the series at a glance.
The Challenge: Show What Is New
The first film followed one woman through her morning. The second had a different job: tell customers that the shop is full of new pieces, and make that feel personal.
Some jewelry is bought as a treat for yourself and some as a gift, and the film needed room for both. It also had to live in the same world as the first film, so viewers recognise the series at a glance.
The Idea: Paint It Lilac
We turned Lucardi's colour into the story. A swatch in a hardware store, a tin of lilac paint, a roller on the wall: someone is redecorating, and the jewelry is part of the fresh start.
The film closes on a daughter surprising her mother with new earrings in a room painted the same lilac. The pack shot lays the new pieces out along a fresh stripe of paint.
The Idea: Paint It Lilac
We turned Lucardi's colour into the story. A swatch in a hardware store, a tin of lilac paint, a roller on the wall: someone is redecorating, and the jewelry is part of the fresh start.
The film closes on a daughter surprising her mother with new earrings in a room painted the same lilac. The pack shot lays the new pieces out along a fresh stripe of paint.
The Idea: Paint It Lilac
We turned Lucardi's colour into the story. A swatch in a hardware store, a tin of lilac paint, a roller on the wall: someone is redecorating, and the jewelry is part of the fresh start.
The film closes on a daughter surprising her mother with new earrings in a room painted the same lilac. The pack shot lays the new pieces out along a fresh stripe of paint.
The Process: Back In The Same World
We worked the way we did on the first film. Storyboard first, then the cast and their world locked as stills: the mother, the daughter, the hardware store, the lilac room. Only then did the shots start to move.
The jewelry on screen is the real collection, so what you see in the film is what hangs in the shop. After the edit and the grade, the film went out as a TV commercial, a billboard and vertical cuts for social.
The Process: Back In The Same World
We worked the way we did on the first film. Storyboard first, then the cast and their world locked as stills: the mother, the daughter, the hardware store, the lilac room. Only then did the shots start to move.
The jewelry on screen is the real collection, so what you see in the film is what hangs in the shop. After the edit and the grade, the film went out as a TV commercial, a billboard and vertical cuts for social.
The Process: Back In The Same World
We worked the way we did on the first film. Storyboard first, then the cast and their world locked as stills: the mother, the daughter, the hardware store, the lilac room. Only then did the shots start to move.
The jewelry on screen is the real collection, so what you see in the film is what hangs in the shop. After the edit and the grade, the film went out as a TV commercial, a billboard and vertical cuts for social.
