Industry leading boiler manufacturer, Worcester Bosch, were looking to create an exciting new piece of content to celebrate 20 years of WAI. Worcester Accredited Installers are accredited to fit Worcester boilers to the highest possible standards and in return, Worcester also offer invaluable levels of support to aid in the running of the installers business. The success of the scheme means that Worcester have thousands of installers currently on the scheme and were holding conferences across the globe to celebrate the success.
We believe that to connect with an audience and make an impact to a target demographic, you need to tell them a story, not sell them one. Connecting with people on a personal level is very powerful and this is something we implemented for this project right from the get go. We came up with the concept of “Real Stories”, following the true lives of installers who have found success in business with the help of the WAI scheme. The best way to deliver a message is to not throw hundreds of people in all at once and dilute the message. Therefore, we had one main story, backed up by two others.
Finding the correct people to be used in a film can be tricky, especially when using real people and not actors or made up stories. Therefore, the first step was to secure the correct story that we felt would tick all the boxes with the project objectives. We began the lengthy process of looking through the list of WAI’s who we feel would have a good story and then with a shortlist of 10 in mind, we scheduled phone calls with them to determine strong key points that would help to build a powerful story. Another point to consider was that although we wanted our final three contributors to have good stories, we also wanted them to be told from very different angles, adding variation to the background of each persons journey within the industry.
Taking what we had learnt from our contributor phone conversations, it was time to build a story. We decided to take Paul Frampton as our main story as we felt he had a fantastic back story with family that would resonate nicely with the messages we were trying to portray. The points he would make in the film were to be backed up by Steve Sines and newbie apprentice, Kyle Broxton. We generated a series of tailored questions that we would ask each of our contributors within an interview scenario on filming day one. The questions were written in a way that would ensure accurate answers that would run in sync with the overall story we had in mind. As well as preparing the questions, we worked out locations, appropriate music, the correct camera setup to give us the look we wanted to achieve as well as full storyboards of the final piece.
After all of the preparation had taken place, it was time to shoot the content. With two filming days ahead of us, there was a lot to get through, not to mention a few hundred miles of travel between locations. Shooting all of our interviews in one place would help to speed the process up, not to mention give us control over sound, lighting and continuity between contributors within the final edit. We wanted a light, spacious location to conduct these, so shot the majority of content at the heart of Birmingham’s creative quarter, The Custard Factory. Then it was down to Lymington and we started off day two at the marina followed by Paul Frampton’s offices and a country house location for the final scenes. With the weather on our side, we captured some beautiful footage. Wanting this piece to look like a film, we shot the content on anamorphic lenses coupled to one of the industries best cameras, the ARRI Alexa Plus.
Editing commenced the very next day and it was straight into the studio to get the content pieced together. When we had secured ‘vision lock’ on the final cut, it was time to get the finishing touches added and it was up to Nottingham for completion of the story. Sound is 50% of a film and we wanted to make sure that we addressed the sound with incredible detail if we were to achieve a piece that connects with an audience as much as we would like. Working with our Dolby approved partnered facilities, we added SFX into each shot individually to help bring the film to life. We felt this was vital as the piece was to be played at large scale conferences across the globe. With sound approved, the project signed off and delivered to the client, it was time for usage. First stop for the film was a major conference in Beijing, and the content has received amazing feedback from both Worcester Bosch directly and WAI’s from across the United Kingdom.