Spoonflower

 

Color Your World

Spoonflower changed the way designers create fabrics.

The goal of this project was to show how easy and fun the Spoonflower user experience could be, requiring just a vision and a few clicks of a mouse. We would marry the digital and tactile worlds, both visually and aurally, placing our main character in the role of “conductor” over the entire orchestration. The “orchestration” would be the ordering, manufacturing and delivery of the materials, as well as the putting together of the final room.

Match cuts would play a vital role in making this connection. For example, you’ll notice a knob turned on a guitar amp, then a similarly-framed knob turned on a printer in the factory. The metronome movement matches the back-and-forth of an industrial printer head, and so on. Each of these parallels were tediously planned during the storyboarding process.

Our Spoonflower client was really diggin’ on female beatboxing at the time. We decided if we were going to embrace the beatboxing style, while also staying true to the Spoonflower brand, we needed to cast an actress who 1) could beatbox and 2) fit Spoonflower’s primary demographic. The source of the sound would need to be seen on screen (this is called “diegetic sound” in the production world). Otherwise, the aesthetic would be unmotivated. We decided early on that if we were going to do this, we were going to go big.

So the first thing we did was call up world champion female beatboxer Kaila Mullady. Fortunately, she agreed to play the role. And she was amazing.

Since “Color your world” was going to be the tagline, we wanted the visuals to be as lush and colorful as possible. We looked to Zoey Deschanel’s character on New Girl as inspiration for the look and quirkiness we wanted. We also knew we would need patterns that would motivate cute sound effects (such as animals and robots), and that the majority of, if not all the sound would need to be created by the human voice. With all this in mind, we worked with Spoonflower and Prop Tarts to develop the art direction and build the set.

Process

Once our creative was in place, we had just a few days to capture all of the music, sound effects and footage we needed to make it work. We went into the studio with Kaila on a Monday and had her freestyle for about an hour. We set the metronome to 122 beats-per-minute, knowing that having a consistent tempo would allow us to mix, match and layer different pieces during audio post-production.

We also gave her pictures of the fabrics we’d be using and had her do sound effects for them. For instance, where she saw elephants, she did a mouth horn that mimicked the sound of elephants.

We all laughed hysterically when she did “Baby dinosaurs.”

Then we had her improv some singing. She came up with bits of melody and lyrics, such as “change up the whole game” and “color it up,” which would become the backbone of the music score.

On Tuesday, Daniel roughed together some beats that Kaila could perform on camera the next day. Producer Shawn Lamons worked tirelessly with the art department to get the set prepped. On Wednesday, we shot all of the stuff with Kaila. Director of Photography Vernon Rudolph and team worked their asses off. And the set change in the middle of the day was a huge feat for the art department. But everyone worked together to pull it off.

At one point, Daniel’s audio track count was as high as 150. He gets carried away sometimes. He and editor Max Zampieri worked together to get the sound and picture right in post-production.

A lot of hard work was put in to this project by some very talented people, and we are super excited with how it turned out!