Book Your Happiness

There are two key elements in the filming of this film: location and characters.All this is transmitted from a sensory perspective. It is a journey made through the characters, who travel through each space of Ushuaïa Ibiza Beach Hotel, transporting us to recognizable sensations, moments of climax, moments with an aspirational sense, which awaken the senses and generate in the viewer the need to be over there.Throughout the piece, insinuation, the abstract, the artistic and the explicit are mixed, through powerful images that keep the viewer hooked, that transport them and that manage to give the concept of the story a sensory force over and above linearity.The goal is to convey the true meaning behind "The Ushuaïa Experience".We work with two types of shots that confirm the camera language of the clip: Macro language, concrete but explicit, in which they enter as inserts, playing in edit with ramps and braking. And, on the other hand, the narrative planes, which combined manage to form an entertaining and visually very attractive language of their own.NARRATIVE PLANS - STORYTELLINGOn the one hand, we have the plans that are going to tell the story, a story of characters. These shots are narrative, a camera in a live hand, with nerve, that steals moments of reality and that locates the protagonists framing them in the different spaces of Ushuaïa Ibiza Beach Hotel.A camera that moves with the pulse of the characters, that runs with them, that pauses when they look at each other, that plays with depths of field and rhythm. She breathes with the protagonists, being slow and contemplative when they are and running to their side when they do.The use of angular lenses shows us the space wide, shows our actors big, allowing us to feel part of the scene, being an invasive camera attached to the action, creating amplitude and being the counterpoint to our second block.SENSORY PLANS - CLOSE UP'SOn the other hand, there is our second block of which our camera language is made up. Macro shots. Some detailed plans that seek a sensory feeling. The pupil of an eye that dilates excited to see something that pleases, lips that are bitten in desire, a lemon that is squeezed or a drop that icy falls sliding down the glass of Coca-Cola.Close shots that take us through evocative sensations to delve into history.It has also been played with chopped macro shots in specific actions. Likewise, split and superimposed screens have been used as a resource that is repeated throughout the clip. These resources allow us, on the one hand, with split screens, to simultaneously see two actions, and/or a reaction action; while with the superimposed screens, details are emphasized within the detail itself, playing with that "global" vs. "concrete" duality, or action - texture.