Pandora Radio: Sounds Like You

Credits & Description:

Title: Playlist
Category: Electronics, Technology
Client: Pandora Music
Brand: Pandora
Media: TV
Country: USA
Vp Creative Services: Tony Calzaretta
Executive Creative Director: Julie Scelzo
Associate Creative Director: Iman Omar, Jacob Pepper
Creative: Sean Farrell, Colin Nissan
Producer: Vera Kacurova
Director: Michel Gondry
Production: Partizan
Managing Director/Executive Producer: Lisa Tauscher
Head of Production: Molly Griffin
Director of Photography: Shawn Kim
Production Designer: Maxwell Orgell
Editor: Kirk Baxter
Visual Effects: Eightvfx
Graphics and Animation: Gentleman Scholar
Sound Studio/Engineer: One Union Recording
Date: May, 2017
Description:
Take a journey through some of music's most iconic album covers with Pandora.
Entry Summary:
Vinyl album sales were the highest in 2016 than they have been since 1988. People are more familiar with album cover artwork than they have been on 28 years. New releases are even being released in vinyl. This film celebrates the iconic covers, both old and new. In the new music streaming age, the new Pandora premium product celebrates the art of the album cover by putting it up front and center, large in the app's now playing screen immersing the listener in its style and mood.
Synopsis:
In this film, we see a woman running through worlds of iconic album art. In the last shot it is revealed that she is listening to this music while running on a treadmill in a dingy hotel gym the entire time. Listening to the music she loves changed the world around her.
Client Brief Or Objective:
To be able to look at an iconic image, some of which many of us had been looking at for years, and ask; “What could this be?” was a truly inspiring prospect. A primary challenge of “Playlist” was creating a seamless marriage between existing established album artwork with our interpretation of a tactile world in which a character can explore. The desire to do proper justice in the reveal, while taking liberties in our character’s interaction with them, demands a responsibility not always requisite to the design process. Finding parallels between seemingly unrelated imagery, opened the door for some fantastic transitions. Often, they would also provide unexpected new criteria for our design approach of the sequences that followed. Favoring practical set builds and utilizing creative devices of the Film Industry, both new and old, made this project unique in what is often otherwise a “post-heavy” current commercial climate.