Glenn Jeffery, Grey Africa’s executive creative director, says, "To stay true to the authenticity of glass, everything we shot had to feel real, which made for some unusual shooting techniques — and a melted lens or two. Whether filming at a microscopic level or shooting in what felt like the inside of an oven, the resulting picture was a delightful visual feast."

The TV spot strives to take the viewer on an immersive journey using imagery that simultaneously invokes feelings of inner and outer space. From the beginning, the script steered away from a literal interpretation of how glass and beer are made.

Bioscope films director Fausto Becatti says that he had a clear vision for the film. "[It was] an immersive standout piece blending mysterious storytelling and visceral visuals," he says.

According to the Bioscope Films and Grey team, that was a creative challenge. To produce an organic and natural feel, minimal CGI was used, which meant capturing real shots in camera — ranging from petri dishes under a microscope to a scorching furnace at a Consol factory.

Fausto says that CGI dates quickly. "Even if you can't put your finger on why, it often feels off. In-camera shots also allow for the random and unpredictable, which relates well to glass and beer because, although their manufacturing requires stringent recipes, you still find interesting 'artefacts' along the way," he adds. 

To capture movement and light in new and surprising ways, the team commissioned Chris Parks, a specialist in capturing the art of chemical reactions. Parks's approach is to use mixed media within a liquid medium. He creates microscopic, moving, fluid 'paintings' that continually change and develop until the moment is right, at which point he films them.

"To control the liquid, he works on a tiny scale. At the moment of capture, the pieces are barely visible to the naked eye, measuring less than a centimetre. All the 'paintings' are naturally occurring events that Chris creates in his studio using organic ingredients. Nothing is digitally enhanced and painstaking effort goes into representing the colours that are visible at the time of capturing the film," says the team at Grey. 

An original violin score, detailed sound design and a bespoke poem delivered by a raspy voice, were vital elements in creating a soundscape as interesting as the visuals. Consol's new sound mnemonic aims to complement the visual logo.

A palette of sounds made from various Consol glass products was recorded and then manipulated in distinctive ways to create the unique sonic identity.

Consol's marketing director Dale Carolin concludes, "This is easily Consol's best campaign to date and world-class work, thanks to Grey Advertising. I hope the public enjoys it as much as we enjoyed making it."

Short clips from the film will be used as teasers in online media and a 90-second brand film will be shared on YouTube. 

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