To See More: Papaya Films Delivers First Service Production for German Brand Buhl15.06.2020

Peek behind the scenes of our latest effort for German software development brand Buhl. This was also the first service production we collaborated on with German production house SuperCine. Directed by Wolf&Lamm, the film was lensed by Tymoteusz Pieszka. Due to health and safety considerations, the project was handled remotely from the very outset, without the client, agency representatives, or the director present on set. Alongside the film we also produced a photo shoot for the brand, with pictures taken by Robert Ceranowicz.

How do you handle a service production when everything around you seems to tell you that it’s beyond the realm of possibility? When the success of a project hinges on remote work, communication is absolutely key.

“Although neither the client, the agency, nor the director were physically present on set, it’s not like they were in any way removed from the day-to-day efforts,” says Tomasz Skrodzki, a producer with Papaya Films involved with the Buhl campaign. The framework Skrodzki and his team ended up developing gave the client, the agency, and the director even greater insight into what was happening on set than they would have had they been present, The framework was based on two cameras: one was the primary camera, used for essential filming tasks, while the other showed a wide-lens view of the whole set from its perch in the corner of the location.

Although remotely, the director was involved with the project from the preproduction stage, working closely with directors of relevant departments, including set design, costumes, and beauty. In the course of the production, he stayed in constant contact with the first assistant director and the cinematographer, both of whom were physically present on set.

“The director, Joffrey Jans, said that it was probably the most efficient production in his career, adding that never before in his professional life did he manage to oversee this many shots, setups, or costume changes. Given that we were simultaneously doing a photo shoot for the brand, it would not be an exaggeration to say that we squeezed everything we possibly could out of every single minute on set,” Skrodzki says.

The decision to go ahead with filming was preceded by a comprehensive risk analysis, which sought to establish whether it would be possible to work on set while observing the necessary safety protocols and precautions.

“Using disinfection tunnels, ozone generators, misting systems, masks, medical interviews, and a host of other safety means ultimately allowed us to significantly curtail the risk to the crew,” Skrodzki adds.

See the finished product: