Case Study: Our Image Film for Selters | How We Created Our Water Magic and What It Achieves

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CLIENT

SELTERS (RADEBERGER)_

AGENCY

AGENCY VORREITHER_

DIRECTOR & MOCO

SÖREN WEINGARTEN_

CORE TECH

MRMC BOLT & HIGHSPEED_

2025 Platinum AWARD | Creativity in Videography

2025 Platinum AWARD | Product Commercials

LOG_01 /// MISSION_BRIEFING & AWARDS

AWARD-WINNING VISUAL IMPACT_

2X PLATINUM AWARD 2025 LED-WALL ASSET PEOPLE STOPPER

We created much more than just an image clip for one of the most renowned mineral water brands - we developed a highly dynamic visual asset. Specially designed for use on gigantic LED walls, this film acts as the ultimate "people stopper" at international trade fairs. To create instant dominance in this visually noisy environment, our approach was uncompromising: absolute perfection through real physics instead of artificial CGI elements.

We constructed tailor-made mechanical apparatuses and synchronized them to the millisecond with our motion control system. The result is a physical liquid choreography that not only captivated the trade fair visitors, but also impressed the international jury of experts. The project received two awards for its technical and aesthetic excellence: The 2025 Platinum AWARD for Creativity in Videography and the 2025 Platinum AWARD for Product Commercials.

LOG_01 /// VIRTUAL PRODUCTION & 3D TRACKING

THE UNDERWATER SPRING_

MOCO DATA SYNC

There is more to the first shot of the film than meets the eye. Like the other shots, this one was also filmed in our studio. The water and the stones in the foreground are real, while the background was created on the computer. We use the 3D data from the camera movement of our Cinebot to synchronize the real with the artificial with frame accuracy.

LOG_02 /// PNEUMATIC AIR BURSTS

WE DIVE IN_

PROBE LENSUNDERWATER RIGGING

To symbolize the change, we filmed this "bubble shot". Filming water droplets flying towards the camera is complex: as bubbles only rise upwards, they have to be filmed from above - with a waterproof lens to immerse them. We created the bubbles using air pressure. Before each shot, we shot two seconds of air through the hidden cable system in the aquarium to clear the water of dust before the actual camera movement through the water took place.

LOG_03 /// HIGH-VELOCITY HYDRODYNAMICS

POWER & ENERGY: THE TWIRL-SHOT_

CUSTOM ACRYLIC RIGSPECIAL PROBE OPTICS

One of the most impressive shots - and the most dangerous shot of the whole film due to the large amount of water that we had to transport at high speed. For this we built a spiral out of a flexible acrylic sheet. We tested and planned massively in order to realize the shot in just five takes. This shot was only possible with our special rod lenses, which allowed us to move backwards through the spiral and guide the camera out of the bottle.

LOG_04 /// PRACTICAL TRANSITIONS

...THROUGH THE BOTTLE_

KEYVISUAL INTEGRATION

Crystals and prisms are part of the company's new key visual. We therefore decided to integrate the prisms into the transition from the bottle to the next shot. Here, too, we visually transition seamlessly to the next shot.

LOG_05 /// 800 FPS HIGHSPEED

THE "POUR-SHOT"_

PHANTOM FLEXMOCO TRACKING

The classic shot for drinks films. We follow exactly how the first drops fly from the bottle into a seltzer glass. This precise movement would have been virtually impossible without our high-speed Cinebot. This complex ballet was filmed at 800 frames per second.

LOG_06 /// PNEUMATIC IMPACT

ACTION IMPULS_

PNEUMATIC RAM

The intensity increases from here. After the first cut, the water is literally shot out of a glass. We achieved this by using a pneumatic piston to which the glass was attached. We deliberately overexposed the water here and let it glow in the air to emphasize its purity.

LOG_07 & 08 /// LIGHTING & MACRO

BRAND & CRYSTAL_

With a musical impulse, we fade to a simple, perfectly exposed shot of the bottle to present the brand clearly. This is followed by a macroscopic shot: a glass crystal over which water is poured in slow motion. Rotated 180 degrees in post-production, it creates a fascinating, weightless upward movement.

LOG_09 /// ACOUSTIC LEVITATION

DANCING WATER_

SUBWOOFER FREQUENCIES

Floating water droplets as a symbol for carbonic acid. We realized this shot with a very powerful bass speaker. Covered and placed with water directly above the subwoofer, all that was missing for this impressive image was the exact camera movement and the right sound.

LOG_10 /// RAPID DECOMPRESSION

THE PRICKEL_

PNEUMATIC ACTUATOR

Focus on the fine acidity of the water. In order to trigger as many bubbles as possible at exactly the right time, the bottle was attached to a pneumatic piston. It was driven down with force and pulled up at lightning speed for the shot. This was the only way to physically capture the maximum number of bubbles.

LOG_11 /// MULTI-PRODUCT CHOREO

DIVERSE & POWERFUL_

LOW ANGLE LENSPNEUMATIC TILT

Before the packshot, we wanted to emphasize the product size and variety (medium & natural) in a spontaneous setup. A special lens allowed us to get the extreme ant perspective. A dedicated pneumatic swivel was used for the perfect timing of the tipping of the bottle and the flowing water.

LOG_12 /// GRAVITY INVERSION & AI TIMING

THE DIAMOND_

180° POST-ROTATIONAI FRAME INTERPOLATION (1600 FPS)

This shot leaves even experts astonished. We did *not* film underwater. Instead, we mechanically rotated the diamond, shot it in the air and sprayed it with water - combined with a synchronized camera movement. The footage was then digitally rotated 180 degrees. Using AI technology, we slowed down the original 800 frames per second to a buttery-smooth 1,600 FPS. Slight digital wave movements complete the illusion of the underwater world.

LOG_13 /// ENGINEERING MASTERPIECE

THE PACKSHOT_

CUSTOM AQUARIUM RIG 300 TAKES WIRE REMOVAL

One of the most elaborate shots in the history of our studio. We wanted the bottles to emerge majestically from the water. To achieve this, we designed a huge aquarium, an invisible fastening system (anchored behind the lids) and a high-performance pneumatic system that mechanically pulls all three bottle types out of the water in sync. After days of development and around 300 shots, we got the timing right. Several days of post-production for rig removal and high-precision bottle retouching completed the hero shot of the campaign.