A whole range
in twenty seconds
The modularity, colours, functions and upgrades of three sofa suites, compressed into one television commercial.
3 suites at 1:1 · a full range in 20 seconds
Who Harvey Norman are
An Australian international retail chain: furniture, white goods, electronics and mattresses. The range includes made-to-order sofa suites, where the buyer arranges the layout themselves, picks the fabric and the extra functions, and the piece is built within twenty-five working days.
A twenty-second television commercial for a line of sofa suites. Twenty seconds is not enough to show modularity, colour options, functions and upgrades if each of them gets its own shot. In live production every layout and every colour would have to be physically built, brought into a studio and moved for each shot; most combinations only exist once ordered, so they cannot be gathered for a single shoot day at all.
Scanning and one-to-one models
Three suites — Patton, Dakota and Bowman — were photographed and 3D scanned on the client's own floor. The scans became clean, production-usable models, each rigged so that the headrests, backrests, sliding seats, recliners and drawers move exactly as they do on the real piece. Every layout then comes out of those same models, from armchair and two-seater to corner, chaise and U configuration, with no remodelling.
Reference capture at the client
Configurations built from the same models
The grid layout system
The main product holds the full frame while smaller panels open beside it in a grid: another layout, another colour, the powered recliner, the pull-out bed, the storage drawer, the stitching on the seat, the tall metal legs. The viewer sees several things at once instead of waiting for them one after another. It is the only way three suites and all their options fit through twenty seconds and still leave room for the delivery time at the end.
Four moments from the same twenty-second arc
Fabric, leather and colours
Fabric and leather samples were captured into a material library, so each colourway is the same model with the material swapped. Changing colour in the commercial is not a new shot but a new render of the same layout, which is why every variant lines up exactly and can be compared.
The fabric and leather library
The same configuration, another colour
The colour palette as it appears in the commercial
Studio frames and room settings
Beyond the commercial, the same models gave still studio frames focused on the stitching, the legs and the mechanisms, and settings in a furnished room. None of it was filmed: the room, the light, the rug and the textiles are 3D, so every frame agrees with every other and can be repeated at any time with a different product or in a different colour. The camera stays put and the suite reassembles inside it.
Studio frames
Room settings
A second season in one room
For the next campaign we placed the same line in a single room: the suites fly into frame while captions mark the modularity, the adaptability, the extra functions and the colours and materials. Because the models, materials and layouts already existed, the second season went through production without one new model.
Every format out of one scene
The same scene yielded the horizontal television format, the square one for the Instagram feed, the vertical one for stories and the portrait one for in-store screens, each in a Slovenian and a Croatian version. On a shoot every format would mean different framing and another capture; here it was enough to re-render the same scene in another ratio.
Instagram story and feed, Slovenian version