Director/Animator Peter Rosati and his semi-revolving team of talented creatives, At Night Collective, knocked a challenging ask out of the park this month with their spot “Mom Vs. The Group Photo":
Through clever shot design, music and sound effects, they turned a familiar premise (a mom needing a fast-acting solution for a sore throat) into a humorously elevated piece of content. In the world of healthcare and pharmaceuticals, information about products is often disseminated in a clinical, perfunctory way, but this spot serves as a refreshing break from all that through its use of simple, organic storytelling. The Project Brief came with a heavy dose of executional requirements, but Peter and his team worked hard to make sure they met them, while also incorporating their own creative ideas and style.
We spoke with Peter to learn more about his prescription for maintaining a healthy, collaborative relationship with a brand throughout production.
M: Tell us a little about yourself and your production team, At Night Collective.
P: At Night Collective is really just the name I like to use on projects I'm working on. They usually involve a similar crew of really talented friends.
M: The Stay in Control Chloraseptic Video Project came with a number of
P: Trying to balance the vision I had for the spot with the many detailed requirements of the brief was certainly the most challenging part of the Project. Especially any shots which had to do with how sore the mom's throat was before taking the meds and how healed it was after. I probably ran a dozen takes of all the lines with various levels of "sore throat."
Creatively, I feel like it was about trying to find what the client would actually like, within what they said they wanted. There were a few asks that I had a feeling wouldn’t actually be what they liked in the end, so I shot alternate versions as well. That way I could show them the original ask, but also offer up alternate versions as well. Also being able to show those ideas instead of describing them made it much easier to sell.
M: This spot could have easily clung to the generic problem-then-solution story format, but you managed to make it visually engaging and infuse it with just the right amount of humor using interesting camera angles, sound effects and music. Tell us about what led to some of these creative decisions, the tone you set out to create, and how it all came together.
P: Really glad you think it avoided that trap! It was hard to skirt, especially because the brand really wanted to be sure the "after" was shown clearly. To be honest, I feel like it's a little more "problem-then-solution" than I originally would have liked, but it was a fun challenge to try and find some creative choices within those restrictions.
My main goal was to keep the visuals as simple and straight-forward as possible. I didn't want to do anything flashy or confusing with the camera, just make it look good. Our G&E, camera, and design crew were able to make everything look amazing while feeling very natural. Almost everything is dressed, but you wouldn't even think twice.
I’d like to drill into your use of sound. Sound effects and music play a key role in driving the story forward - from the moment the mom reacts to the balloon popping to the whimsical noise when she pulls out a pack of Chloraseptic. Not having to use VO makes this seem less like a commercial. Did you plan these sound cues in pre-pro, or did you work with your mixer?
Ya we did plan the sound cues from the beginning! We really liked the idea of an audio cue taking the audience from the "set-up" section into the "chaos" section, instead of just cutting right into it (toaster, confetti popper). We then also used an audio cue (the bell) to take us out of the chaos. We used these audio markers as little check points that kept everything in line and easily understood, even while the scene itself is out of control. Credit goes to Dylan Grossman (our sound designer) for making those audio cues really hit the mark!
M: What was it like casting and then working with so many kids on set? How did you prepare yourself - and your crew - for this challenge?
P: This kinda has to do with the above question. I really put my creative focus in the actors. I wanted to keep everything else simple so the performances were clear and accessible. I really enjoy working with young actors and while having a dozen young kids on set "acting" hyper can sound exhausting, it was the part of the shoot I probably felt most comfortable with!
(If you'd like to learn more about working with kids on set and what regulations to follow, you can read our blog "Working With Child Actors: What You Need To Know")
M: You've worked on a lot of narrative and experimental films, as well as music videos. What is it like going back and forth between narrative and commercial work? What draws you to a specific project regardless of the genre?
P: Going back and forth is important, I think, cause they're totally different skills. The biggest challenge for this project wasn't on set at all, it was navigating the brand requirements while making a compelling spot. I'm most drawn to projects with strong visual storytelling. And I think one similar thing for every project is surrounding yourself with talented people you like working with. Everyone on this spot was a pleasure and wanted to do good work. Makes everything else easy.
If you’d like to see more of Peter Rosati’s work, check out his Vimeo and Instagram pages. Have questions or comments? Leave them in the section below.
