The brief.
Weber Shandwick needed the Ink Twice activation covered on the day: a Tinder pop-up run with Sixty Ink on Denmark Street, offering free cover-ups to people carrying a tattoo tied to a past relationship.
The brief was coverage, not a finished film. Weber were cutting the case study themselves, so what I shot had to be broad enough to build from. The space, the artists, the process, the people, and enough detail to cut between. All of it captured inside a working studio while the activation was live and full of members of the public.
How I shot it.
- A small footprint, so the studio could keep working
- Observational shooting through a live, running activation
- Macro detail on the cover-up itself: linework, ink, skin
- Artists and participants working, covered as it happened
- Exteriors and studio texture to place the work on Denmark Street
The whole job was staying out of the way. The people getting tattooed were the story, so the camera followed rather than led.
What made it work.
A live activation is not a set. Members of the public were booked in through the day, the artists were working to time, and none of it stops because there is a camera in the room. You read the room and take what it gives you.
Keeping it small is what made that possible. A big lighting package and a bigger crew would have slowed the studio down and made everyone self-conscious, and the footage would have shown it.
What the campaign did.
Figures as reported in the finished case study film:
Campaign by Weber Shandwick for Tinder, with Sixty Ink as studio partner. The results belong to the campaign; I shot the event coverage the film was cut from.
Delivery.
Full event coverage delivered to Weber Shandwick, who cut the case study film above and the social edits that ran with it.
