Yves rocher nutrıtıon

credits

In our Nutrition film for Yves Rocher featuring Cemre Baysel, we used the KIRA robotic arm to enhance our dynamic camera language. These sharp, mechanical movements became a defining element of our cinematography.

Client Yves Rocher
Agency Iris Creative Haus
Director Tuğkun Zeroğlu
Assistant Director Murat Ayarslan
Producer Diba Dilsiz
Director of Photography Birkan Yorulmaz
Starring Cemre Baysel
Art Director Ulaş Odabaş
Production Designer Sıla Karakaya
Production Team Leader Şükrü Yanıkgil
Production Team Tolga Aksarı, Umut Aktaş, Mertcan Kırçal, İnan Dayan, Hazal Günay
2nd A.D Nurullah Gemici
DIT Ahmet Polat
Gaffer Mücahit Vural
Grip Team Doublecheck
Colorist Mesut Kesici
Film Studio Phoenix Stüdyoları
Post Production Company Roots Post Production
Post Production Coordination Fatma Genç
Editor Emre Bekler
VFX Berk Şen
Storyboard Özgür Uyanık
Backstage Gökhan Eroğlu
Hair İbrahim Zengin

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The film opens with a top-down Dutch tilt shot that glides toward the actress’s healthy scalp. After a brief pause, the camera performs a sweeping motion to move in front of her, shifting the focus to her hair as it moves. This sequence, which could have been divided into four separate shots, was captured in a single continuous take using KIRA, amplifying its impact and creating a bold, energetic introduction.

Following the opening, we tease the products in a sterile, laboratory-inspired setting. A robotic camera move takes us beneath a glass surface, pushing in toward the two products. This low-angle shot elevates the products while referencing the brand’s scientific credibility through the art direction, which includes botanical ingredients, test tubes, and beakers. For the demo shots that explain product content, we integrated AI-generated visuals, turning still images into video to blend seamlessly into the film.

For the application steps, we used a static camera to clearly and directly show each stage to the viewer. Here, dynamism was created not through movement, but through rhythmic editing and music tempo.

At the film’s climax, we return to KIRA for the dramatic hair-flip and mirror-gazing shots. By maintaining visual continuity between these moments, we crafted a confident and stylized peak. The hair-flip scene was shot in high frame rate with a reversed robotic arc movement. We applied ramping in the edit to heighten its emotional intensity and draw the viewer's full attention to that moment.

In the final packshot, we echoed the robotic movement used in the opening, bringing the film’s visual language full circle and maintaining a cohesive cinematographic style from start to finish.

Yves rocher nutrıtıon

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