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How do we get an accurate advertising image on bus sides, magazines and billboards? Part 1 – Aksel and Elina’s wedding farce

How do we get an accurate advertising image on bus sides, magazines and billboards? Part 1 – Aksel and Elina’s wedding farce

Valokuvaaja Peter Sebastian

Many people have asked me to show some behind-the-scenes footage. So why not, I thought I’d start posting a series of articles on the subject.

Here’s a very simple first part, at the end of which you can watch a video clip of the filming. There will be a lot more material like this coming later and I will try to get more material on other steps like processing and finishing the images.

I have had the honour of shooting for years for a beloved client Linnateatteri wide range of advertising and marketing images. Already more than a dozen different stunning filmed productions behind him. Here’s one of them: the Aksel and Elina Wedding Farce.

This production was written by comedy superman Antto Terras. It was directed by Kari-Pekka Toivonen, a multi-talented professional with an impressive amount of experience as an actor.

Composing an advertising image from nine individual photos

The advert features three great actors: Katriina Sinisalo, Miika Laakso and Mikko Leskelä. Each of them had to be described individually in different roles. The individual images were combined by image processing into a single whole within the same advertising image.

The end result was a advertising image that was used on bus sides, roadsides, billboards, brochures, magazines and publications in sizes of several metres.

For advertising images to be so versatile and to be displayed in public areas and on the street as large, accurate prints, they need to be shot with a high-resolution camera. That’s why I’ve also invested in professional cameras. When the image size is large, it can cover large areas in sharp focus.

The location was the legendary Domino Hall of the Linnateatteri. I always shoot on-location commercials directly on my portable MacBook Pro computer, so everyone in the production team and the people being filmed can see the images instantly on the computer screen, rather than having to flick through the image on the camera’s thumbnail screen.

As each person in the picture has to look as if they were all in the same group shot, there are many challenges: the exposure has to be the same in every picture, with no differences, and the colours have to be accurate. I use Profoto’s professional flashes, which are very reliable both in terms of colour values and luminous intensity.

This was the first part of a series of articles. See you in the next article!

In the meantime, discover more about the wonderful world of advertising images here

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Peter Sebastian

Peter Sebastian

An affectionate soul who is inspired by life and takes pleasure in small everyday things and is constantly looking for a positive in this rather tough business world. Encourages everyone to find their own thing and do what they love. About 15 years as an entrepreneur.

See other posts
Peter Sebastian

Peter Sebastian

An affectionate soul who is inspired by life and takes pleasure in small everyday things and is constantly looking for a positive in this rather tough business world. Encourages everyone to find their own thing and do what they love. About 15 years as an entrepreneur.

See all posts