Character Building for Ad Campaigns
Real characters are built, not just dressed. I focus on creating a visual history for your cast, using texture, aging, and specific color palettes to ensure they feel authentic in every frame of your commercial.
A 360-degree view of the final costume for a character in an Infinix India ad. I layered a plaid shirt, a worn-out jacket, a knitted sweater, and aged trousers to build a rich, believable history for the character before he even appeared on screen.
The character as seen in the final Infinix ad. The layered costume, complete with a weathered bag and head covering, helps him blend seamlessly into the gritty, nocturnal environment, making his presence feel authentic.
A still from the same Infinix campaign, featuring another character. Her costume, with traditional jhumka earrings and a simple blouse, was designed to create a visual and emotional contrast with the urban setting and the other characters.
The foundational color palette developed for the Infinix ad. This mood board guided the costume choices, ensuring every piece of clothing aligned with the campaign's dark, cinematic, and earthy aesthetic.
About Character Building for Ad Campaigns
For the Infinix campaign, I did not just pick a jacket. I layered, distressed, and aged the fabric to give the character a believable, weathered history that fits a gritty, nocturnal setting. This approach ensures that the costume is not just clothing, but a vital part of the story.
From Script to Screen
Every project begins with a deep dive into the script. I sit with the director to understand the character's background: where they live, what they struggle with, and how that reflects in their clothes. This is not about fashion; it is about narrative.
The Technical Process
My approach relies on tangible execution to bring characters to life:
- Concept Development: I create mood boards and hand-drawn sketches to align the costume palette with the set design and lighting.
- Fabric Aging and Texture: To avoid the 'brand new' look, I use techniques like dyeing, distressing, and layering. If a character has a tough backstory, their clothes should look like they have lived through it.
- Continuity and Management: Styling is demanding work. I manage inventory logs, ensure visual consistency across non-linear shooting schedules, and provide on-set supervision for 10 to 12 hours a day. Whether sourcing unique textiles from local markets or coordinating talent fittings, I ensure the costume department remains a seamless part of the production.
My goal is to handle all the technical details—from garment repair to on-set continuity—so the production team can focus entirely on the camera and the performance.
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