OTHER: Corporate Video - season launch for theatre company

[rob norton]

I shot/co-directed this for a theatre company, unveiling the 2025 schedule of plays to the public to boost ticket sales.

It was played on a big screen at a performing arts centre before kicking off the after party. It's always so satisfying seeing work with an actual audience.

I didn't shoot Rhinestone Rex, JULIA, or Bilo.

We had some resources but not all.

 

[rob norton]

 

[Alex H.]

I’ve honestly never seen a promo like that for a theatre, and I love it! Excellent production design, great pacing.

The theatre here advertises, but it’s all very straightforward and VO-driven. I really like that there’s no VO in this promo; it’s a little more attention-grabbing for me.

I didn't shoot Rhinestone Rex, JULIA, or Bilo.

We had some resources but not all.

Didi you outsource those to another crew?

 

[rob norton]

I’ve honestly never seen a promo like that for a theatre, and I love it! Excellent production design, great pacing.

The theatre here advertises, but it’s all very straightforward and VO-driven. I really like that there’s no VO in this promo; it’s a little more attention-grabbing for me.

Thanks Alex! I can't pinpoint the shift in this style and not everyone does it but I'm sure there's a trickle down effect from places like London/NY etc. Not saying your local theatre companies are behind the times, but it seems like there's been a change over the last few years. With cost of living and other financial struggles, the poor theatre companies are essentially competing with how someone spends money for entertainment, if at all.

The goal was somewhere between a Netflix-esque trailer without deviating too far from the actual medium, so an interesting space with freedom to acknowledge the camera/performing actions not necessarily in the actual play but still representative of the story.

Didi you outsource those to another crew?

Rhinestone rex was shot in sydney (on a c5002). Julia was a completely finished product already so we dropped that one in. We could't shoot Bilo because of some logistical issues so used 2x stock driving clips and existing shots of the family. Rhinestone fits with the rest of the trailer, and I know JULIA and Bilo still work, but it would have been cool to shoot those as well for a more similar feel.

 

[Alex H.]

The goal was somewhere between a Netflix-esque trailer without deviating too far from the actual medium, so an interesting space with freedom to acknowledge the camera/performing actions not necessarily in the actual play but still representative of the story.

Yeah, I really dig this style.