Latest in our series entitled “We’re not worthy,” here’s a look at two wonderful pieces of work – the interactive commercial “Honda Presents The Other Side,” and the behind-the-scenes write-up of how and why they pulled it together on Final Cut Pro X by editor Thomas Grove Carter.
On first blush, it looked like it might be hokey: an interactive commercial? Feh.
Wrong, wrong, wrong.
Be prepared to be blown away not only by the concept and execution – happy family sensibility on one side, Luc Besson car chase on the other – but by the thoroughness with which Thomas Grover Carter shares how he handled the editing.
Awesome is a terribly over-used word (my 8th grade English teacher Mr. Lamm scolded us that it was to be applied only to truly awesome things like the Grand Canyon – he must be turning over in his grave), but in the narrow context of commercial filmmaking, “The Other Side” is awesome.
And — as The Other Side and Thomas demonstrate — nose bleed high beyond my current capabilities.
Truly inspiring. [bctt tweet=”Final Cut Pro X shows its power in Honda interactive commercial The Other Side”]
Honda ‘The Other Side' – Trailer
Everyone has another side. Find out more at www.hondatheotherside.com #TypeR
How Honda's interactive commercial ‘The Other Side' was edited in Final Cut Pro X
A superb story on how a very different and very cool commercial for Honda got cut. Thomas takes us through the process in creating this uniquely interwoven story. As you will understand, we cannot embed the commercial here, so please follow Thomas' link and instructions:
I’m an editor at Trim Editing in London. I cut music videos and commercials like this and this. I’ve cut plenty of work in Avid, and Final Cut Classic. But I am an editor who uses Final Cut Pro X. The following is meant to shine a little light on how an application I love is the best choice for an odd workflow and a brutal deadline on a very big job.
‘The Other Side’ is a double sided interactive film which follows a humble dad by day or a member of a criminal underworld by night, depending on how the viewer interacts with it. The user can press, hold or jab the R button on their keyboard as much as they like to flick between the two parallel narratives.
It was directed by visionary filmmaker Daniel Wolfe, who made this mark in music videos and commercials before his blistering debut feature Catch Me Daddy. It was shot on 35mm in Slovenia and Croatia over 6 days and nights by the outrageously talented Robbie Ryan.
The advertising agency was Wieden+Kennedy London.
|Note: it is our policy to give credit as well as deserved traffic to our news sources – so we don't repost the entire article – sorry, I know you want the juicy bits, but I feel it is only fair that their site get the traffic and besides, you just might make a new friend and find an advertiser that has something you've never seen before|
(cover photo credit: snap from FCP.co)
And always with the ambition of authenticity, humanity and wit.
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