Hugh Jackman struts his stuff doing a "safety dance" conga of some sort, he even entices his chair to join in. Rest assured, Hugh who likes doing his own stunts was shaking his own booty for this, just like he did in Lipton Tokyo Hotel. The VO at the end and the sound in general leaves something to be desired here.
btw, here's the "Safety Dance" rocketnerd remix, just because I can.
New York: Editor Diego Panich was recently called upon to lend his talents to Lipton Ice Tea’s newest global spot, ‘Join The Dance,’ featuring actor Hugh Jackman - and a cast of 150 - directed by Luciano Podcaminsky out of @Radical/Stink, NY. The award-winning editor met the task of creating a pace and tone that heightens the impact of the spot with his masterful fusion of a spectacular 60-second dance number with CGI elements to create a seamless story with a spontaneous up-beat feel that elevates the product’s brand.
“Diego Panich is an award-winning editor with a high-profile roster of work that showcases his ability to heighten the impact of visuals with a masterful fusion of live-action and CGI into a seamless captivating story with a pace and tone that consistently elevates a product’s brand,” notes Yvette Pineyro, owner of Wild(child) Editorial, which represents Panich exclusively in NY, LA and the Midwest. “He’s a world-class talent with a sense of humor that has universal appeal - from subtle wit and light-hearted whimsy to unabashed comedy.”
The commercial features the multi-talented Aussie dancing his way through a picturesque seaside village accompanied by a cast of 150 ‘townspeople’ that follow his lead in a skillfully choreographed synchronized number that runs the entire length of the 60-second spot
Panich was tasked with the challenge of making the carefully blocked out dance routine look spontaneous. At the same time the editor organically integrating a series of CGI elements – from dancing chairs and revolving buildings, to animated fruit – maintaining the continuity of the storyline and the momentum of the contagious, up-beat feeling that builds from the opening scene through the last frame.
Filmed on the world-famous beaches and streets of charming villages of Montevideo and Punta del Este, Uruguay, the spot opens with Jackman sitting alone at beachside café, looking hot and bored.
He reaches for a Lipton Ice Tea, rolls the cold bottle against his neck to cool off, and then takes a long gulp. Instantly refreshed, he rises to his feet, and, as we hear the first bars of the 80’s classic, “Safety Dance,” he turns to an empty chair as says the song’s opening line, ‘We can dance if you want to.”
The chair begins to move to the beat of the song as a few people at the next table catch Jackman’s infectious energy, get out of their seats and begin to dance with him. As Jackson dances his way onto the boardwalk, and then along the streets and into the town square, more and more people are drawn to the upbeat spirit and join the hoofer, creating a huge procession dancing in synchronized step. Stick figures of a man and woman on restrooms doors sway to the beat, buildings revolve, the statue in the and even the square gets into the spirit, along with other CGI elements.
Panich and multi award-winning director Luciano Podcaminsky have been working together for over 12-years, and have collaborated on a number of award-winning spots, including, ‘Nike Surgery', which garnered a Bronze Clio in 2008, and ‘Father + Daughter’ for MTV, which was awarded the Cannes Silver Lion.
“Luciano and I work closely throughout the editing process,” notes Panich. He’s a remarkable director and always provides great ideas during post that elevate the impact of every spot.”
“The concept of the spot depended heavily on postproduction,” Panich adds. “Both Luciano and the agency wanted to include the maximum number of scenes. Jackman and the cast danced through over two-dozen locations - each one more beautiful than the one before – and we didn’t want to lose any of the richness that these scenes brought to spot. So the first challenge was to find a pace that worked with the tempo of the song, and still allowed me to weave an overabundance of scenes into a visual tapestry that didn’t feel rushed and gave viewers the time needed to take in what they were seeing.”
“While maintaining the pace of the spot, it was also important to keep the feel of the long dance sequence spontaneous as more and more people joined the procession,” says Panich. “At the same time, the high-tech CGI elements needed to flow with the tempo of the music without taking the focus off the dancers as their growing numbers built the momentum, right down to the last frame of the spot.”
”Whether working on projects targeting the US general market, or tailored to a global audience, Panich is passionate about meeting the challenge of cutting a mix of live-action footage and dynamic computer generated imagery and finding just the right balance needed to create a compelling, cohesive story with a message that’s greater than the sum of its parts,” adds Pineyro, an award-winning editor in her own right. “Agencies in US’s major markets have been awed by his reel, and we’re very proud to represent him.”
Pineyro has built a reputation as an A-list editor of spots, promos and films in the US. However, the New York-native’s Cuban heritage has given her a keen appreciation of the fresh, innovative aesthetic that multi-cultural talent brings to the mix. Since the launch of Wild(child) in 1995, she has kept her finger on the pulse of the global market, hand-picking a select roster of talent from around the world to compliment its A-list in-house talent.
“Wild(child) approaches editorial and CGI services in much the same way I do, and it has built a global reputation and strong infrastructure over the past 16-years,” notes Panich. “That approach, and Yvette’s passion for working with talent with a diverse global aesthetic, makes it the ideal company to represent me in the US’s major NY, LA and Midwest markets.”