Pushing the boundaries using creative technologies

Biotechnology company Revance Therapeutics enlisted photographers Anaïs & Dax to shoot a global campaign for their RHA Collection in LA. The job was appointed by BBH London and produced by AM Production studio.

Coronavirus restrictions meant that both photo agency and client were unable to attend, with only a skeleton team permitted on set.

AM Production therefore devised a remote shoot plan that allowed the client, agency and production teams, from London and the US, to view the shoot in granular detail.

A shoot of two halves

RHA Brand Shoot
Revance’s campaign was split in two. The first half was a brand shoot consisting of microfine beauty stills with a fashion editorial edge and conceptual lighting. With stills and moving image components shot by separate teams, it was vital to keep communication channels open throughout to maintain brand consistency.

Before and After Shoot
The second half of the campaign captured stills and moving image of talent before and after treatment injections. Shot a week apart to allow treatments to work, the close-up portraits had to match identically. Cameras, lights and talent were meticulously measured for consistency, with a head brace used to maintain the talent’s position.

The result - a horizontal slider allows viewers to glide between pre and post-treatment images, directly comparing results. Elsewhere, a motion film enables users to view a seamless before and after sequence in optimum detail.

Revolutionary techniques for a distanced world

• Talent casting took place remotely, with Sony Alpha 4 cameras enabling clients to see every detail of the talent’s skin.

• The client, agency teams and photographers were able to review remotely, comment and approve set-ups. Throughout the shoot, four clients and nine agency team members dialled in, from LA and London.

• Cameras were placed around the set, broadcasting the shoot from multiple aspects via an encrypted link, alongside the digital tech's monitor live feed. The client could see almost every aspect of the shoot remotely.

• Cameras were set up in wardrobe and multiple on-set locations. Feeds could be custom-sized so that viewers were able to view live incoming images on the digital tech station and camera feeds simultaneously.

• Client feedback was done in real time and fed back to photographers Anaïs & Dax through ear buds, meaning it could be actioned immediately. Typed feedback from the rest of the team was relayed via an online feed.

• Live playback of the shoot was available via Qtake.

• Shot selection was made in DFStudio. Clients received a link giving access to a messenger, enabling them to view and mark primary and secondary selects within a browser. Images were uploaded shortly after a shot was taken and selects were synced onto a hard drive before delivery.

Anaïs & Dax
Art direction
Anaïs & Dax
AM Production