HERO spot
Making of produkce Silencio FX
Every now and then, a project falls into your lap, and you think, “This is the one I’ve been waiting for!” For me, that project was the Pilsner Urquell commercial The Best Bubbles in Vary, with creative direction from the agency B&T. A fantastic concept paired with some of the best talent our scene has to offer—Aňa Geislerová, Hana Vagnerová, Jakub Prachař, and the exceptional host Tomáš Kraus.
From the moment I landed the job with my treatment to the actual shoot, there was barely any time. Despite that, I didn’t want to leave anything to chance. Together with cinematographer Tomáš Šťastný and the production team at Silencio FX, we headed straight to scout the selected locations. There, we sketched out a basic floor plan and dove into planning the shots and interactions.
Všechny záběry jsme si nachodili s telefonem a nastříhali dopředu.
First and foremost, to all aspiring creators out there: the phrase “casting makes the film” isn’t just a saying—it’s the absolute truth. Casting and the subsequent callbacks with actors are the alpha and omega of everything! And this project proved it. Having anyone in front of the camera who looks good but doesn’t have it inside would mean our spot had zero chance of success. The level of performance, expressions, and hitting marks that these actors bring to the table is next-level stuff. It’s something I’ve never experienced before, but it’s definitely something I could get used to.
However, not everything is smooth sailing, even if the final result turns out great. Every shoot comes with its own set of challenges, and this one was no exception. For me, there were several. First, stepping far outside of my comfort zone—not just for me, but for the agency and production as well. I’ve always been pigeonholed as a “visual director”, and here I was, shooting a short narrative piece entirely based on acting performances. Thankfully, this project finally helped me break out of that box.
Second, shot planning was tricky. We didn’t have the option to pre-light or set up the entire location at once. Instead, everything had to be adjusted shot by shot, including the extras and a limited number of props. For me, it was crucial to stick to my vision and gently (sometimes firmly) push those around me to achieve it. For instance, Aňa never actually met the rest of the cast on set—she acted into a void. All props and actors were adjusted shot by shot, and I had to memorize playback after every take. With no PSU available to track scene continuity, I had to learn not only the dialogue but also the entire choreography of the actors’ movements, which made my brain work overtime during the shoot. But hey, it worked out!
According to Mediář, our campaign ranked among the Top 3 of the Year. That’s something I’m genuinely proud of, even if I don’t put much stock in awards or rankings. If you scroll down, you’ll find not only a detailed Making Of video that you might have already seen but also a great report from CNN Prima that reveals a behind-the-scenes look at the project from another perspective.
I’m looking forward to whatever comes next and what I’ll get to share here in one breath—whether for your inspiration or my own.
A takhle vypadal náš plán první scény.