Rain-X premium wiper blades allow you to welcome any weather; this is the concept behind our latest work for the brand, brought to us by Crammer-Krasselt. The TVC uses a beloved nursery rhyme to tell a touching story of a raindrop's journey from sky to windshield.  While the work was originally pitched as a fully CGI production, the client wanted a touch of humanity. To figure out how to do this within the parameters of the project, they came to Taylor James. To complete the work, we often had to pivot and reassess as Covid-19 presented many hurdles. 

 Already on a tight 6-week timeline, the shoot was postponed until after the holidays because Mexico City was on red alert due to Covid. You might say we weathered every storm that came our way.

Having a polished previz before the shoot was important to us. Our previs included a full animation to establish the edit, flow, and shot count. Here we had the freedom to try different camera angles and cuts, eventually arriving on the right feel for the spot. By taking time in this phase, the shoot will be that much tighter.

The time we took during the Previz stage allowed us to come to the shoot with a very specific shot list, and a much smaller film crew. We were able to maximize our available resources while being a Covid-safe shoot. 

Early on, we had recommended our Mexico studio and planned on leaning into our VFX handiwork to augment the car into a North American setting. When Mexico City became red-zoned, we quickly pivoted, organizing a shoot on private property in less than two weeks. We added more VFX and CGI to reach the end product we had promised. 

A drone was used to get the spot's first shot of the city from sky high, and the raindrop's journey to Earth. We stitched shots of two locations, making it look like the one city street our raindrop falls upon.

Despite every storm, we were able to deliver the spot on time and on budget. Immediately following this project, we were glad to begin another job with Cramer-Krasselt.