helicopters


Saturday, January 23rd, 2010

How Can You Show How Quiet a Helicopter Is?

REALLY Simple Marketing Solutions

This is a series on marketing solutions. Often the simplest solution is the best. Here’s one you might find interesting.

Problem: How can McDonnell Douglas show how quiet it’s new helicopter is?

Creative Solution: Have it land and take off without awakening a sleeping man and his dog.

The scene: Historic Old Tucson (scenes of many Western movies).

We cast an old guy to dress up like a old prospector.  He’ll be rocked back on a chair taking a nap on the front porch of the cabin.  At his feet will be his trusty watchdog, ‘Snappy’, who doesn’t miss a thing.

The helicopter will land in the background and then take off again and we’ll see if they can do it without waking up wither the prospector or the doggie.

Now why are we jumping through all these hoops to show how quiet this helicopter is?

Well, because McDonnell Douglas spent a godzillion dollars developing the No Tail Rotor helicopter.  The NOTAR.  Removing the tail rotor eliminates the danger to people walking around behind the helicopter.  Conventional helicopters have rapidly spinning blades at the end of the tail boom, which spin so fast they virtually disappear.  Hence, lots of people walk into them and get the vegomatic treatment.

So the NOTAR is the big thing we are pushing cause people are people not vegetables.

Another big plus is that people complain about police helicopters making so much noise when they are overhead.  The NOTAR system virtually eliminates that problem since the main noise from a helicopter is the tail rotor, not the big blades above the cabin.

So, here comes the shoot day.  The weather’s good. The prospector looks sleepy. The dog is ready to go, although to me he looks a little “tight”, like a swiss watch that won’t wind any more.

The dog wrangler says that the dog’s not about to freak out, he’s just shivering in the early morning cold.

So, we radio in the helicopter.  Here he comes. Roll camera.  The helicopter lands. The helicopter starts to lift off. The dog jumps.

Take Two.  We radio in the helicopter.  Here he comes.

Roll camera.

The helicopter lands. The helicopter starts to lift off. The dog jumps.

Take Three.  We radio in the helicopter.  Here he comes.

“Roll camera! Steady everybody.”

The helicopter lands. Somebody sneezes.  The dog jumps.

Take Four.  We radio in the helicopter.  Here he comes.

“Roll camera! Steady everybody.”

The helicopter lands. Nothing moves.  A lizard a half mile a way. Skitters down a rock.  The dog jumps.

Take Five.  Dog jumps.

Take Six. Dog yawns.

Take Seven. Dog wags his tail at his owner who’s madly trying to make the dog keep her head down.

We have a “conference” with everyone EXCEPT the dog owner.

“Have we got a clean landing?”

“Yes”.

“So let’s get a clean take off.”

“It won’t work.  The helicopter won’t land in the same place.  So we have to restage the landing and takeoff until we get a good one.”

We motion over the dog owner.

“What can you give the dog to calm her down?”

“No,” she responds.

“Do you have a staple gun?”

No one laughs.

“She’ll get it this time,” she promises.

Okay.

“Take godzillion and five.”

We radio in the helicopter.  Here he comes.

“Roll camera! Steady everybody.”

The helicopter lands. The dog doesn’t move.

The helicopter takes off.  We watch the dog.

The dog doesn’t move.

We notice small pools of Crazy Glue around the dog’s legs and ears.  The fur is strangely matted with clear laquer*.

We’ve got the shot!

“CUT !!!!”

The dog tries to smile but her lips won’t move.  The wrangler comes up and we turn our backs not wanting to see what she did to immobilize the dog.

We wake up the prospector, pay him fifty bucks and send him on his way.

Anyway, it is a very quiet helicopter.  Check out the finished spot.

Please be advised that no animals were harmed in the production of this commercial.

Click on the link to see our final cut of the spot:

Written by: Fletch Murray of The Association

Fletch Murray

Fletch Murray

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Thursday, June 25th, 2009

Midnight Express-Oh!

The Grand Princess Sailing into Istanbul

The Grand Princess Sailing into Istanbul

So there we were, sitting outside the Turkish Customs Office in Istanbul drinking strong Turkish coffee with some swarthy guys toting machine guns who didn’t speak a word of English. My cameraman and I were waiting for Ali, our local guide/production manager/criminal, to finish bribing the authorities (or being paid by these same authorities to haul us off to some Midnight Express style prison where we would be ransomed off or left to rot if no one stepped up to pay the ransom.) Whatever. How we had come to this precarious state is an interesting story.

When Princess Cruises launched Grand Princess, she was billed as “the biggest, most expensive cruise ship ever built.” We were assigned to sail with her on her Maiden Voyage from Istanbul to Barcelona and chronicle the trip (Oh, please don’t throw us in that briar patch!) as well as make a “Welcome Aboard” video detailing the various highlights of the ship.

To this end we sent one crew to sail with the ship from the yard in Trieste to Istanbul and shoot what interior shots they could. We would follow with another crew and our models and meet up with the ship in Istanbul. Part of our plan was to shoot helicopter aerials of the ship as she came into port. The Princess PR Department was very keen on getting these images and others of the new ship’s interiors broadcast to the world via satellite to announce the Grand Princess Inaugural Voyage. Everything went according to plan until we arrived in Turkey. That’s when we discovered that:

1) The only helicopters in Turkey were those flown by the Government

2) No videotapes could be sent out of the country except by express government permission after screening them

3) No facilities existed in Turkey to view videotapes made by our American equipment. That’s when we turned to Ali for help.

We had met Ali several months earlier in LA when the Ad Agency he worked for (Grey, Europe) shot a Turkish bank commercial in Downtown LA (they just liked the look) and Ali came over as a production manager. We acted as the local production company for the shoot. Ali was now delighted to return the favor. He got permission for us to fly in a military helicopter with a pilot who spoke no English. Hey, it was better than what we could come up with! He assured us he had the ways and means to get the tape past the Government censorship and out of Turkey.

So up we went in the helicopter and, using hand signals, guided the pilot into flight patterns to capture some remarkable aerials of the new ship as she glided into Istanbul Harbor in the golden 6 AM sun. Then we landed and met our crew onboard where they had set up an Avid editing suite in (of course) an actual suite onboard Grand Princess. (This made the editor the envy of our crew but that’s another story.) Combining the aerials with footage our scout crew had already shot, we created a two-minute promo for the ship and raced with the tape to the airport where Ali disappeared into the customs office and left us alone with the Turkish gentlemen, the strong black coffee and our own dark thoughts.

After what seemed an eternity, Ali emerged with a smile. Two hundred bucks American and our tape was winging its way to the BBC in London where it would be broadcast to the world. We scurried back to the ship in time to make the sailing and bid a fond farewell to Ali.

Moral of the story: When shooting on location there is just no substitute for local knowledge.

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