WEBTOON™, a publishing portal for the distribution and consumption of web-based comics, averages more than 64 million monthly active users–16.5-plus million of whom read daily. More people consumer WEBTOON series than watch most TV shows. To further promote awareness of WEBTOON, agency Fred & Farid Los Angeles created the Stories To Obsess Over campaign featuring celebs in cinematic films obsessing over WEBTOON. With the advent of the pandemic and quarantine–causing millions of people to remain at home, and more connected than ever to their screens–the campaign line and concept became even more relevant. Wanting to tap into this new norm, the team pivoted in order to capture the actors alone, in the confines of their homes – ultimately yielding a collection of films that are authentic, and reflective of the times.
For the first episode in this series of films, the agency tapped actress, Alia Shawkat, director/DP Kevin Phillips, and a team of video conferencing specialists to execute the creative.
Fred & Farid Los Angeles and the production company Ways & Means created a quarantine-adapted virtual “set” and “video village” which allowed clients, agency, crew, and talent to stay in constant communication throughout the whole process–from pre-pro to shooting. A professional-grade camera, along with a sanitized “filmmaker kit,” were delivered to Shawkat’s home the day before the shoot. Pioneering technology allowed the agency and clients to virtually attend the shoot, and see exactly what was being captured–as if they were viewing a camera monitor in a traditional video village. Experts were on standby to troubleshoot technical issues while a camera assistant remotely controlled aperture and focus from miles away. “Craft services” were sent to clients via delivery service to maintain that “on-set” feeling. Even family members pitched in: Shawkat’s brother doubled as a production assistant, helping to move equipment from one setup to the next.
After the remote shoot, production delivered a Phantom camera, lighting equipment, and an assortment of props to director/DP Phillips’ home. With the goal of making the film feel as cinematic as possible, he shot a number of slow-motion macro shots which were intercut with Shawkat’s dialogue in the final edits.
“There’s a solution to every problem! This new way of shooting remotely could re-shape the way creative work is done for the foreseeable future,” said Chelsea Steiger, creative director on the project. “Now we know that we can pull off a broadcast-quality production safely, without making sacrifices creatively.”
This first episode is entitled “Quarantine Series: Freaking Romance.”
