Dissecting A Brand Story

We wanted to bring you into our world, and what goes into putting together a Brand Story from behind the scenes. The process and the approach is the same, whether we’re telling a story for a large manufacturer or a small fashion designer. The only real variation is the scope of the project. Today, we’re taking a look at Moore Photography.

Chris Radtke, Mark Hiebert, Curtis Moore, Steadicam

Curtis Moore is inspired by motion pictures. It’s the real reason he started out with photography; wanting to tell that story unfolding before his eyes every day around him. He found his talent was in stills. The brand is really an extension of the person he is and who he’s surrounded by. He’s driven and he’s not afraid to try something new. In a lot of ways, our team connected on a personal level with Curtis as our vision for our own brands were much the same. Trying something new, not taking everything too seriously, striving to create the best work we can.

5W1A4528

The Story Process

The Moore Photography story was filmed over the span of 3 days. One evening in a field, in the middle of no where in the Manitoba prairies. One early evening downtown Winnipeg. And one afternoon spent with his family in the park close to their home also fitting in an interview session at his studio. We generally plan backwards, scheduling the time needed in order to tell the story. We first met Curtis at a Starbucks and informally chatted about what his goals were having this film made. The three of us (Chris, Mark & Steve) are just dudes, and we really enjoy connecting with our clients. Telling a person’s brand story is much easier if we actually get to know that person first. After we all had a chance to brainstorm what it might look like, and getting a better idea of what sets Curtis apart, we planned out 3 shoot dates. His family plays a major role in who he is, and what motivates him. He’s extremely talented with light and he’s able to work in a huge range of environments (hot tropical beaches, cold and dry prairie winters) so the challenge was to show as much variety in a short timeframe as possible. We worked with him on two sessions he had booked, one in the country and one in the city for variation.

Some of our stories require a bit of direction, or leading via narration to help tie the story together. But in most cases (and in this case), we lead with suggestion but never interfere with what’s naturally happening on the screen. Similarly to Curtis, who will set the stage for a great environment but let’s the people he’s photographing just be who they are. Getting comfortable in front of the camera. There’s nothing said in Curtis’ film that’s unnatural or scripted. It’s all real, and every frame of him in action is taken behind the scenes just letting him be and we’re there to document it. With Steadicams, Cranes, Sliders and Tripods that can be a challenge. Not to mention capturing audio and dialogue throughout in their natural environments. But that’s our strongest asset; being able to create something that may look and feel like it might have been scripted or purposely arranged but in reality it’s completely natural. We’re able to move our cameras to where needs be, see the film visually before it’s even files sitting on a computer, and edit with that vision in mind.

The Music

marmoset

With all of us coming from a musical background, any of our work’s music selection plays a key role in making a film what it is. It can carry you, it can move you, it can bring you down or build you right up depending on what we’re trying to convey. Our two best sources of music licensing are Marmoset Music and The Music Bed. They’ve helped bridge the gap between artists and filmmakers, connecting us with a wide range of choice and potential and helped give our films added character.

TMB5-Press_4