Cultural Saudi
Saudi counter culture
The 10 commercials were produced by Europa Films for ALJ and Bayareg who were working with the Saudi Arabian Government.
Bayareq, the Saudi-based nonprofit organisation, recently commissioned a 10 spot television campaign with a message of hope for the young. The commercials convey Bayareq’s belief in traditional work ethics and values and reinforce its objective ‘to transform Saudi – and eventually global – youth into a powerful and positive source of innovation, energy and leadership’ through hard work, team work
and a sense of pride in every job.
Award-winning South African Director/ Director of Photography, Terence Maritz, was alerted to the campaign. “We needed a different approach and Terence combined a distinctive look and feel. His trademark gritty sense of reality was vital to the tonality of each spot,” remarks Crabtree.
Maritz’s main tool was the Steadicam. “Richard Rolf, the Steadicam Operator, was a pleasure to work with and my gaffer and his team were great; there was never a task too large for them – even in tough terrain and extreme temperatures the crew completed every set-up smoothly.We shot in numerous locations in and around Dubai, including steam-filled boiler rooms, at the Formula 1 racetrack, which Art Director, Brendon Poole, and his team magically transformed with steam and smoke effects.
Saudi Counter Culture. 10 commercials were produced by Europafilms GmbH for ALJ and Bayareg who were working with the Saudi Arabian Government.
Bayareq, the Saudi-based nonprofit organisation, recently commissioned a 10 spot television campaign with a message of hope for the young. The commercials convey Bayareq’s belief in traditional work ethics and values and reinforce its objective ‘to transform Saudi – and eventually global – youth into a powerful and positive source of innovation, energy and leadership’ through hard work, team work and a sense of pride in every job.
Award-winning South African Director/ Director of Photography, Terence Maritz, was alerted to the campaign. “We needed a different approach and Terence combined a distinctive look and feel. His trademark gritty sense of reality was vital to the tonality of each spot,” remarks Crabtree.
Maritz’s main tool was the Steadicam. “Richard Rolf, the Steadicam Operator, was a pleasure to work with and my gaffer and his team were great; there was never a task too large for them – even in tough terrain and extreme temperatures the crew completed every set-up smoothly.We shot in numerous locations in and around Dubai, including steam-filled boiler rooms, at the Formula 1 racetrack, which Art Director, Brendon Poole, and his team magically transformed with steam and smoke effects.
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