In the vibrant world of advertising, where creativity meets technology, a remarkable project for Postobón, Colombia's leading beverage company, stands out. Tasked with creating a liquid identity for five distinctive brands—Colombiana, Bretaña, Acqua, Manzana, and Flavours—Chuck Studios embarked on a journey that melded precision, innovation, and artistry.
This interview delves into the minds behind this captivating campaign, revealing the challenges, inspirations, and meticulous processes that transformed a visionary brief into 50 stunning assets. Join Willem van Muijden, Leonardo Grassi, Erik de Koning, and Stefano Crose as they share the magic behind the making of Postobón's visual identities.
Interviewee names and job titles
- Willem van Muijden, SFX Specialist
- Leonardo Grassi, SFX Master Assistant at Chuck Studios
- Erik de Koning, Director
- Stefano Crose, Art Director
What was the brief?
Postobón is the largest beverage company in Columbia. Our brief was to create a liquid identity for five Postobón brands: Colombiana, Bretaña, Acqua, Manzana, and Flavours. Five brands, 50 assets.
How did the initial pitch/brainstorming phase go?
We were briefed on the different Visual Identities for each brand, each of which has a very unique and strong identity. We then presented a creative deck where we touched on each brand promise, showcased references, and explained how we envisioned the creative direction.
At this stage, no shots were yet designed. We just gave a sense of the overall ‘vibe’ we were going for. Once we’d won the pitch, we then worked all together on developing the list for the tabletop shoot. Inspiration came from everybody working collaboratively on this project.
What was the process behind ideating the concept?
The first phase was all about reading, watching, understanding, and sourcing the right images/videos, whether liquid-related or not. Essentially anything that could communicate the right 'vibe' through colours, angles, movements, interactions, etc.
After ensuring that we understood each brand, we started working on a shot list. This is where we (Willem and Leo) came in. With our SFX knowledge/wizardry, we were able to integrate quite a few 'acrobatic' and beautiful images for each brand. But we also wanted to make sure that not all of them were epic and unique.
So, we integrated some more common liquid shots too. We didn't want to lose ourselves in creating any visuals that were too abstract. This was the first time the client was going for these kinds of shots without any live action. For them, it was really exploring a new world.
Once we got approval on the epic list, we started working on the different sets based on the first creative deck. We collaborated with an external set designer to bring our ideas to life in terms of art direction and practicality for each shot, considering the lighting setup, the bolt robot, different rigs, and all the other equipment we used.
At the same time, Willem and Leo started testing the most complex visuals on our list, right up until the day before we started shooting.
What was the production process like?
Trial and error, with a bit of experience thrown in on top. Normally the shots that land on an SFX desk follow the same pattern. And we wanted half of what we produced to follow that pattern. But we were also excited by the fact that half of all shots that were produced for this shoot had never been done before.
We slowly built components up, adjusting to the millimetre and millisecond. It was a nano precision job and the end result is a testament to the team’s ethos - never give up on a shot.
What was the biggest challenge during production? How did you overcome it?
To fight against physics and gravity, as with all our shoots! Oh, and changing everything hours before the shoot was meant to start… As is often the way, we tested the more challenging shots more than the easier ones.
So on shoot day, the easier ones were naturally those that failed. Sometimes you know there’s an easy solution, but it still takes hours of prep. There was a shot where we needed four droplets of liquid to meet in the centre. That was the hardest to pull off.
But the truth is, when things get difficult, that’s when it really gets exciting. All kinds of crazy rigs were 3D printed, polished, programmed, and tested, not without failures and adjustments. But this is the part where our job gets dirty and satisfying. Sometimes one stupid test can hold the key to the shot. And now we have all this knowledge to take with us onto future shoots.
What kit/tools/software were used to create the project?
We built a rig which could pour six bottles of liquid at once, with millisecond and millimetre precision. It resembled one giant puppet - we became the puppet masters! We also used the Bolt Robot to carry the Phantom 4K Camera, a rig that can pop open soda bottles in repetition without failure…more or less every time.
How long did it take from inception to delivery?
Five creative approaches for five brands to deliver 50 different assets produced over eight shooting days. Five film days and three photography. With a fair few days either side of that to prep and for post.
Can you describe the creative spark or inspiration behind the initial concept? Was there a specific moment or insight that ignited the idea?
What we loved from the beginning were the very clear and distinct brand identities. They were strong and unique. We resonated almost instantly with this project and with the people from the agency and Postobón.
When this happens, everything flows effortlessly, from the brainstorming that led to the different mood boards to the actual design of shots. Bottom line, working with brands that have clear identities and positioning is the first source of inspiration. Additionally, partnering with an agency that fully trusts you is the best motivation to fly high without fear.
How did you ensure that the concept aligned with the brand's values, goals, and target audience?
By conducting thorough 'creative due diligence' - reading and watching everything about the brands and understanding them - you gain full control over your creative approach.
Only when you fully understand the archetype behind each identity can you be sure that anything you propose will resonate with the brands. Of course, there are cultural nuances that need to be addressed, but that is the easy part and often just requires a good and open conversation with the client.
Can you discuss any collaborative or interdisciplinary aspects of the ideation process, such as working with other departments or external partners?
We worked alongside FLARE BBDO. We had a great team both on our side and on the agency and client side. The process was long and took a lot of energy, but we had so much fun along the way, and with a great end product to show for it.
Can you discuss any unique or unconventional production techniques or approaches used to bring the idea to life?
There were so many fun different approaches. We poured six bottles at the same time. Did lots of 3D printing. Hung 30 bottles at different angles and emptied them in a specific order. Then there were lots of precision droplets. We programmed motors to make the droplets fly timed perfectly with the camera robot.
We had to make different aluminium structures to create the rigs that allowed us to actually make the liquid jump around. Four droplets colliding at the same moment. Seven droplets falling from the side of the wall. Remote bottles popping. Oh, and of course printing a huge bottle so that we could have the liquid swirling on the inside for a more cinematic effect. The bigger the bottle, the higher quality images.
What do you hope it achieves for the brand?
We believe that distinctiveness and longevity bring recognition. But you can only achieve these if your passion, skills, and talent meet strong brand identities and a collaborative team with a clear mission and an open mind. Which thankfully, we did!
Credit list for the work
Agency Creatives: Diego Contreras Jaramillo, Luisa Fernanda Marquez Garzon, Daniel Alvarez Arango
Agency Account: Juan Andres Mendez Gonzalez
Client: Director of Drink, Mauricio Pinto Muñoz; Senior Brand Manager, Luisa Fernanda Polo Cardona; Brand Manager, Juliana Acevedo Aramburo
Director: Erik de Koning
Executive Producer: Ellen Gaedtgens
Producer: Martijn van de Vrie
Production Assistant: Tammo van Kasteel
Art Director: Stefano Crose
DOP: Ezra Reverda
Liquid Specialist: Shaun McAdam. Assistant: Vince Bouchier
Gaffer/Best Boy: Koen van Bergen/Sasha Horsthuis
Set Dresser: Hannah Gilhooley
Moco: Pascal Rossow and Nigel Permane
SFX/SFX Assist: Willem van Muijden and Leonardo Grassi
Camera: Arri Alexa mini and Phantom VEO 4K plus Canon 5DS Mark IV for photography
Retoucher: Tristen McKenzie
Grading: Tristen McKenzie
Online Editor: Efraim Gons
