Crisis reframes our view on homelessness
With the help of a nifty bit of camera kit, this moving campaign from the UK charity puts viewers in the shoes of a woman living on the streets.
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Credits
powered by
- Agency Good Agency/London
- Production Company VINCE
- Director Tim James Brown
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Credits
powered by
- Agency Good Agency/London
- Production Company VINCE
- Director Tim James Brown
- Grade Coffee & TV
- Editorial Work Editorial/London
- Sound 750mph
- Executive Creative Director Bryn Attewell
- Copywriter Jason Mathais
- Art Director Jonjo Rooney
- Agency Producer Becky Martin
- Executive Producer Chris Gane
- Colorist Simona Cristea
- Producer Tom Ashton
- DP David Meadows
- Editor Matt Prickett
Credits
powered by
- Agency Good Agency/London
- Production Company VINCE
- Director Tim James Brown
- Grade Coffee & TV
- Editorial Work Editorial/London
- Sound 750mph
- Executive Creative Director Bryn Attewell
- Copywriter Jason Mathais
- Art Director Jonjo Rooney
- Agency Producer Becky Martin
- Executive Producer Chris Gane
- Colorist Simona Cristea
- Producer Tom Ashton
- DP David Meadows
- Editor Matt Prickett
Created by Good Agency and directed by Tim James Brown through VINCE for UK homelessness charity Crisis, this hard-hitting spot portrays a woman’s experience of living on the streets from her own point of view.
The film was shot with the Cyclops, the world’s first genuine point-of-view camera, designed to deliver a high-quality 4K authentic picture. Using customised optics, the operator’s view is reflected into the camera system without obstruction.
This means that it films precisely what the actor sees, with the 24mm lens capturing true naturalistic depth of field so arms or legs can be framed in shot and in true proportion.
Above: The Cyclops camera in action.
The director explained how this clever bit of tech was vital to creating a powerful yet authentic narrative. By simply putting the viewer in Michelle’s position, without excessive effects or overly emotional storytelling, the film paints an honest and eye opening picture of the realities of homelessness, highlighting how easy it could be for anyone to find themselves in Michelle's situation.
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Above: The director's original shooting boards.
“A camera technique shouldn't drive the idea; instead, it's imperative we start with a strong concept," explains Brown. "With this production we had a true story to tell. Michelle, a middle-aged woman, couldn't pay her rent, and she was forced out of her home onto the streets.”
“My aim was to ground the film in reality. Not to embellish it, over stylise it, and most definitely not make it saccharin and artificial. I wanted a visceral and immersive experience both physically and metaphorically, so the audience would experience the gritty reality of life on the streets. Placing the viewer quite literally in Michelle’s shoes.”
