How to produce in-camera transition effects for broadcast commercials

Recently we had the privilege of producing an exciting commercial campaign for Teacher’s Credit Union, one of the top 100 largest credit unions in the US. They came to us with a creative idea , helmed by their marketing manager, that was really quite unique. A woman is looking at the new TCU app on her phone at her breakfast table. Then, when she clicks the app, we enter three scenes featuring what “could be” in her future life. At the end, she contemplates the app and we match frame back to the present, however with a little surprise visitor from the future. In this case study, Director Jeremy Pinckert will address why he used transition effects to establish the present vs. future dynamic, how his team achieved the results in-camera, and what the final piece looks like.

The initial creative didn’t call for any transition effects, but as the director I felt it needed a visual device to give the viewer a tell that we are entering scenes that are not in the present. So, we added transitions that enter and then travel between these meta scenarios in a potential future, and then a match frame to indicate we are coming back to the present world. I also wanted there to be subtle movement in the present tense, but when we enter the future every shot has a fast, precise dolly move to give a sense of energy.

To achieve these transitions, I really wanted to go beyond just using the “whip pan” made popular through directors like Wes Anderson. I found inspiration in Ian Pons Jewell’s work, and working with our cinematographer, we were able to achieve all transitions practically and in-camera. 

The first transition is what I would call a circle tilt, where the camera flips 90 degrees off axis into the next shot which also is flipping 90 degrees back on axis, all while dollying in towards our talent. Amazing work by our grip and camera department. Then we would execute a variety of tilts, match frames, and yes even a whip-pan, to create dynamic, energetic commercial advertising for Teacher’s Credit Union (TCU).

As production professionals know, you rarely get to film in sequential order. Given this reality, the really challenge during the shoot was to keep track of the beginning and ending of each scene we shot in order to match the same move as the shots preceding or following. Then we covered the shots in two additional unique moves for the :15 and :06 versions which mashed up the order we established during the :30.

I always say no matter the technology, or in this instance the camera movement, the root of any successful film, commercial, or short is the ability to connect with viewers and make them feel something.  It’s all about an emotional feeling, whether happy, sad, anger, justification, audacity, etc. Great takes on the shoot day are all about clear communication.  I like to lay out my expectations early, identify usable takes early, and most of all be our talent’s biggest cheerleader.

Jeremy Pinckert
Founder / Director at Explore

Check out the additional :15 and :06 versions below to see how we adapted the transition effects in camera!

ABOUT JEREMY PINCKERT

With a focus on people, food/bev, comedy and visual storytelling, Jeremy has the type of genre-busting versatility so appealing to creative teams.  His work is known for eye-catching visuals, well-paced timing and narrative flow, and nuanced performances, whether in directing acting talent or real people. He also is a skilled musician and editor, which informs his approach to projects from treatment to production. Jeremy started his career directing Emmy-winning broadcast storytelling, and since transitioning to the commercial advertising world, he’s honed his craft and grown into a seasoned, multi-faceted director - winning more than 50 industry awards along the way. 

 When not in production, Jeremy can be found with his wife and three kids trying out new hobbies and “relaxing” whilst living the Dad life.