Call SheetProduction
Le Creuset × Mercato Mall
Kiosk launch — one shoot day, two locations
The kiosk is shot empty first, before the mall fills. Once it opens we bring people in — four extras browsing, handling the pots, the mug wall, talking to the kiosk staff, all read as background life rather than performance. Muskan comes in last, so the buying journey is the final thing captured there and the pot leaves the mall in her hands.
Wide and master. Establishing frames, the room, anything that has to hold while people move through it. Tripod and slider at the mall, gimbal at the house.
Close and detail. Hands, faces, macro, the pot. Handheld throughout. Sole camera on the drive.
Ten frames shot, five retouched. Kiosk set in the morning, then working alongside B camera for the rest of the day.
Kit carried in and staged clear of the walkway.
Lighting added only where the kiosk needs it. First test shots for both stills and video so exposure, white balance and the look are settled before anything counts.
They walk us around it, approve the approach and the merchandising, and confirm the hero references before we shoot anything. Direction on the interview soundbites is given here too.
The four hanging banners and any other Le Creuset presence in the mall, shot while the floor is still empty. Wides from the level below, tighter frames up into the ceiling, and the banners read against the kiosk in the same frame where the sightline allows.
Wides and the approach, then into detail — cast iron surface, the mug wall, the LED screen, the mug and pot arrangements. Shot clean before the mall fills.
Quick introduction, then positioned around the kiosk before we roll.
Browsing, lifting a pot, feeling the weight, the mug wall, conversation with the kiosk staff. Kept in the background and unposed. Vertical captured natively rather than cropped later.
Straight to the kiosk. We walk it with her once before rolling. No rehearsed dialogue.
Arriving at the kiosk, moving through the pots, the choice, the conversation with staff, the purchase. Stills and video running together throughout, with vertical stories pulled as we go.
Muskan leaves with the box. A camera takes the wide of the escalator, B camera goes close on her and the box, stills works the walk-away. Straight out to the car for the boot shot. Lock the boot height and angle and note them — the same frame is repeated in reverse at the house.
Remaining two crew. Kiosk back to trading condition, nothing left behind, kit to the car.
Street 14, Villa 44. The drive is covered while we travel: back seat over her shoulder, the rear-view mirror, eyes, hands on the wheel, the box on the seat. B camera only — everyone else eats.
The house is a closed set. The arrival is shot the moment we pull up, before anything is unloaded, so the boot frame matches the one at Mercato. Kitchen and table are lit in one pass, and the cook runs on a real clock — the food has to be ready when the guests sit down.
The boot shot first, before anything comes out of the car — she lifts the box out and carries it to the door, matched to the frame from Mercato. Then kitchen, table and the unboxing position lit in one pass so the afternoon never stops for a relight.
Box opened on the counter, overhead. Her face on first sight — one take, do not ask for it twice. Lid off, pot lifted clear and backlit.
Prep, the sear, the sauce, into the oven, the plating. Real cooking on a real clock — the food has to be ready for the table. Interview soundbites captured in the gaps while the dish is in.
Four to six people. We shoot the arrival, the room filling, the drinks, while Muskan closes out the dish behind them.
The pot carried across, the lid lifted, serving, the first mouthful, the room talking. This is the section that has to feel unstaged.
Pullbacks across the table, over-the-shoulder on the food, detail on the pot and the dish, people eating. Stills selects confirmed before anything is packed.
Cards offloaded and verified twice before the kit leaves. House put back as we found it.
Ticks, verticals and notes save to this iPad only, the moment you enter them. A capture can be undone, but it asks first. Export before the day ends.
The film in sequence, shot by shot. She buys a pot at Mercato, carries it out past the banners, drives it home, cooks in it, and puts it on a table with people around it. Every frame below is cut from that one continuous journey — nothing is shot that does not sit somewhere on this line. Frames marked ON SITE are photographs of the actual kiosk at Mercato — frame against those. The rest are look-alikes for framing and light only. Red marks show the camera move.
The film opens on a mall that is not awake yet. Nothing moves. The brand is overhead before the counter is even in shot.
A1Wide from the level below. Banners across the top third, kiosk small at the base. This single frame is the only proof that the mall-wide presence and the counter belong to each other.
Hold on one banner, then tilt down and land on the kiosk. The move that carries the eye from the ceiling to the product.
Tight on type and colour. Cutaway texture, and a story frame on its own.
ON SITEB1Establishing wide. Kiosk centred, mall symmetrical either side. The first frame of the master film.
ON SITEB2Slow push along the walkway as a customer would take it. Two passes at different speeds.
ON SITEB3Straight on, flat, graphic. It should read as pattern before it reads as product.
ON SITEB4Lateral track, pots passing through frame in a row. Colour moving without anybody talking about it.
B5Enamel surface, the lip of a lid, the knob, the stamp underneath. Six to eight frames, all shallow.
ON SITEB6LED playing, kiosk soft in front. Rack between the two.
Top down on the arrangement, if the height allows it.
People arrive and the counter starts behaving like a shop. Nobody performs. They browse, they lift, they ask.
ON SITEC1Wide, kiosk holding centre, people moving through frame. No direction given.
C2Over shoulder — a hand lifting a pot and feeling how heavy it is. The gesture the whole film turns on.
Two extras choosing between colours.
Kiosk staff presenting a pot, lid coming off, customer leaning in.
Reach in, lift, turn, set down. Shot 9:16 natively for the stories.
She arrives, she looks, she decides, she says why. Close, medium and wide on every beat so the section can be cut long or short.
Walks into frame toward the kiosk. Follow from behind, then let her pass camera.
Over her shoulder as she moves along the row.
D3Face, shallow, quiet. No dialogue. The section rests on this frame.
The weight, the lid, the interior. Both her hands and the staff's.
Two shot with the kiosk staff. Real questions, run it long.
ON SITED6At the counter. Cover the hands and the exchange from two angles.
Beat before she turns to leave.
Two or three soundbites at the kiosk. Why this pot, what she will cook in it. Her own words carry the section.
The pot leaves the building. This is the hinge — everything before it is retail, everything after it is her life.
E1Wide from the side, the diagonal running through frame, her descending with the box.
She comes down toward camera, mall rising behind her.
Looking down the escalator after her as she drops out of frame.
E4Long lens down the mall. Crowd compressed and soft, the box the only sharp thing.
E5She opens the boot, sets the box in, closes it. Camera low, behind the car.
Shot while we actually travel. Quiet, warm, no dialogue — the gap between buying something and using it.
F1Over her shoulder, road ahead through the windscreen, her head and hands in the lower third.
F2Her eyes framed in the rear-view. Locked off, let the light change across her.
Tight. Passing light moving over her face.
F4Detail. The same hands that lifted the pot.
On the seat beside her, light passing across the lid.
The boot shot from the mall repeats in reverse. Same framing, opposite direction — the cut should feel like one continuous action.
She opens it and lifts the box out. Deliberately the same frame as E5, played backwards.
G2Walking in with the box. Warm light from inside the house.
G3Box on the counter, hands cutting it open. Overhead, locked.
Her face the moment she sees it. One take. Do not ask for it again.
G5Lid off, pot lifted clear, backlit so the enamel catches.
Two hours of real cooking on a real clock. Wide once to establish the room, then never wide again — everything else is close.
Wide, her working, pot on the hob. The room established once.
H2Over shoulder down into the pot. Oil moving, the surface changing.
H3Macro. Crust forming, steam coming off it. High frame rate.
Hands, knife, board, herbs. The ordinary things done well.
H5Ramekins, plates, salt and pepper, the spice bowls laid out. Colour and repetition, shot as a set.
Liquid going in and the sound of it. Audio matters more than picture here.
Lid on, door closing on the light.
H8Steam rising into the light. The payoff frame for the cooking section.
Spoon to plate, the first one finished.
The room fills. Nothing here is directed beyond where people sit — the section only works if it looks like an evening rather than a shoot.
Door opens, guests come in, she greets them.
Two shot at the door. The smell of the food is the first thing anyone says.
Seated at the table, talking, drinks poured. Let it run.
J4The pot lifted and carried. Low, following her across the room, both hands on it.
The pot set down in the middle of the table. Two angles.
J6Steam into the room. Shoot it twice, two angles — this is the hero frame of the whole film.
Ladle to plate, passed down the table.
J8Across the table, faces beyond the food.
The reaction. Close, warm, no cutaway.
One continuous move. It starts on the open pot and ends on the whole room, and it is the last thing anybody sees.
Open, steaming, centre of the table. Serving still happening around it.
The move begins. Plates being passed, a glass lifted, someone reaching across.
K3Full table, the pot still the centre of it, everybody eating. Camera keeps going until the room is small in frame. Fade.
From 08:00 at the kiosk. Merchandising and hero product sign-off, a walk around the kiosk with us, and direction on the interview soundbites we plan to record.
Held through the extras block and the buying journey. Anything needing a client decision belongs in this window.
Not required. Nothing between 13:15 and 16:00 needs a client present.
Both are welcome at the table from 16:00 and can sit as part of the guest count. Confirm by the 8th so the table is dressed for the right number.
They appear twice — in the extras block and again in the buying journey, serving Muskan. Both are on the chart as scheduled, so no reshuffling is needed on the day.
The four hanging banners are up for two weeks from the kiosk opening on 6 September. Anything showing them has to be shot and published by 20 September.
Le Creuset library material from Lisa can be recut into the stories, which takes pressure off the story count but not off the window.
Muskan is sharing what she is cooking. Cooking starts at 14:00 with no shopping window, so this closes out the day before.
Issued. Covers filming at the kiosk, the ceiling and the four banners.
Site visit done. Access, kitchen and table all recced.
Four to six at the table. Syrine and Lisa can sit within that number.