The three ads, which aim to change the perception of buying life insurance from that of a grudgepurchase to one that pays something back, use real-life situations to show how OUTsurance LIFE clients could spend the money they get back after 15 claim-free years, from education to travel and a big-ticket purchase.

The original ad concept was written by Bryn Puchert, head of production and copywriting at OUTsurance. Life insurance is a traditionally sensitive topic and production company AIR Films was tasked with interpreting the scripts visually and bringing them to life with sophistication and poise.

“We were very excited to be involved in this campaign,” says Matthys Boshoff, director of AIR Films. “From an artistic point of view, the concepts offered a lot of scope and provided an opportunity to showcase some of what we have to offer.”

Each ad looks at how each family spends their life OUTbonus. The happy scenarios include an opportunity for a young woman, thefirst person in the family to attend university; a romantic second honeymoon in Paris; and a first car for a wheels-besotted lad.

Casting the ads took some time. Boshoff, along with Gaelene Lithgow of G-Stop Casting, cast lookalike children for the three ages portrayed in two of the ads, and adults who could be aged successfully withmakeup and who were able to deliver nuanced performances.

Art director Sue Steele used clever wardrobe design and accessories to portray the passage of time. Deborah Nicol, who led the makeup and hairdressing team, used facial hair, hairpieces and subtle makeup to show the adults aging.

The ads were shot in a variety of locations in and around Johannesburg and embraced diverse light conditions such as a crisp winter morning, dappled light through trees, an evening sunset and an exhilarating nighttime scene at a skate park.

The handheld camera added a sense of intimacy, with meticulous attention to lenses and angles, and a combination of normal and some slow-motion shots, lending elegance and emotion.

AIR Films was able to wrap shooting for the ads in just three days but, says Boshoff, “The production process took six weeks in total and was challenging and labour intensive.”

AIR Films is known for choosing their crew as carefully as their cast, and the combined skills and experience of the handpicked and very talented crew brought a perfect mix of creativity, flair and professionalism to the production.

The team consisted of:

- Matthys Boshoff, director (AIR Films)
- Marge Hughes, executive producer (AIR Films)
- Leanne Sanders, producer (AIR Films)
- Gaelene Lithgow, casting director (G-Stop)
- Timothy Pike, cinematographer
- Sue Steele, production designer
- Deborah Nicol, makeup
- Andrew Traill, editor (The House Post Production)
- Craig Simonetti, colourist (Pudding)
- Jean du Plessis, flame artist (Bladeworks)
- Theo Crous, music composer (Belville Studios)
- Lorens Persson, recording, Foleys and final mixes (Sterling Sound)

One can view the three ads here, here and here.