The head of production of Magic on trusting his instincts, pushing boundaries and the desire to take on new challenges.

The challenges of each new brief has driven Ramojus to his success at shooting more than 400 commercials to date. Before joining his partner Aurimas to launch ‘Magic’ production company in 2011, now operating throughout the Baltics and Turkey, and even holding a 2022 Cannes Lions Grand Prix in Film Craft, Ramojus represented MTV as the lead producer in the Baltics working on hit shows such as ‘Pimp My Ride’ and ‘Most Wanted’.

With ‘Magic’ Ramojus and Aurimas not only achieved the stages of the main advertising awards in the world but also successfully produced their first short animation movie ‘Woods’ awarded in the Lithuanian Silver Crane awards as the best animation movie in 2015, as well as numerous nominations and opening of the San Sebastian Festival in 2019 with their debut feature ‘Invisible’.

 

LBB> What first attracted you to production – and has it been an industry you’ve always worked on or did you come to it from another area?

Ramojus> I was initially drawn to production at a young age, starting with my involvement in a teenagers’ TV show at 16. This early experience sparked my interest, leading me to become a producer at MTV Baltics. Over the years, I’ve continued to hone my skills and have now been in the production business for over 18 years.

LBB> What was your first role in the production world and how did this experience influence how you think about production and how you grew your career?

Ramojus> My first role in the production world was as a co-host in a TV show, where I realised my passion for organising and creating behind the scenes rather than being in front of the camera. This experience laid the foundation for my transition to MTV Baltics as a producer, where I discovered my desire to work in global production.

LBB> How did you learn to be a producer?

Ramojus> I learned to be a producer through hands-on experience. Initially, when I had to produce my first commercials, I was quite amateurish and lacked knowledge about equipment, teams, and roles. However, I quickly immersed myself in the process, working closely with a small group and gradually expanding to larger filmmaking teams. My curiosity drove me to learn about all processes and equipment while trying out various roles. Throughout my journey, I’ve always trusted my instincts on how things should be done and prioritised caring for and respecting every position within the crew.

LBB> Looking back to the beginning of your career, can you tell us about a production you were involved in where you really had to dig deep and that really helped you to grow as a producer?

Ramojus> Reflecting on the early stages of my career, one production stands out where I had to dig deep and experienced significant growth. It was when I met my partner, Aurimas. Our shared vision for quality and approach to the production process was incredibly aligned, making us a perfect match. Collaborating with Aurimas strengthened my confidence and allowed me to trust my instincts even more, ultimately contributing to my growth as a producer.

LBB> A good producer should be able to produce for any medium, from film to events to digital experience. Do you agree or disagree with this statement? Why/why not?

Ramojus> Yes, I agree. While there are different types of producers, a good one should be able to handle various mediums like film or events because they all involve managing people.

LBB> What’s your favourite thing about production and why?

Ramojus> My favourite aspect of production is seeing my vision for a project come to fruition. It’s incredibly satisfying when everything unfolds according to plan.

LBB> How has production changed since you started your career?

Ramojus> Now we use a lot of WhatsApp:))) The digitalisation of processes has accelerated the pace of production, often requiring us to keep up with technology. Additionally, I’ve noticed a positive shift towards greater respect for every position within the film crew, which is a welcome change.

LBB> And what has stayed the same?

Ramojus> We still work with people and that’s the best.

LBB> What do you think is the key to being an effective producer – and is it something that’s innate or something that can be learned?

Ramojus> The key to being an effective producer involves being a strong leader who instils trust and a sense of safety in the team, while also possessing the ability to solve various challenges across different departments to keep the production running smoothly. While many of these skills can be learned and developed to a high level, some innate qualities, such as leadership, may also play a significant role.

LBB> Which production project from across your career are you most proud of and why?

Ramojus> I’ve had the opportunity to work on several memorable projects throughout my career, including BMW, Cartier, 30millions damis, and my time at MTV. What I’m most proud of about these projects is the wealth of experience I gained while working on them.

LBB> And in terms of recent work, which projects have you found to be particularly exciting or have presented particularly interesting production challenges?

Ramojus> I find every project to be potentially exciting, as each offers unique learning opportunities and the chance to make a meaningful contribution.

LBB> Producers always have the best stories. What’s the hairiest / most insane situation you’ve found yourself in and how did you work your way out of it?

Ramojus> One of the most memorable situations I’ve encountered was during a sweets commercial shoot where the process became so complicated that we had to coordinate with airlines to delay the departure of actors who were late to leave the set. It was a tense moment, but we managed to ensure the actors reached the plane just in time for their flight.

LBB> What are your personal ambitions or aspirations as a producer?

Ramojus> My personal ambition as a producer is to continue pushing boundaries. I aspire to work on projects that challenge me creatively and contribute positively to the industry.

LBB> As a producer your brain must have a neverending “to do” list. How do you switch off? What do you do to relax?

Ramojus> For a long time, I struggled to find the switch to relax, but now, spending time with my family helps me unwind. Additionally, engaging in sports activities provides a much-needed break and helps me switch off from work.

LBB> Producers are problem solvers. What personally fuels your curiosity and drive?

Ramojus> I find that the more complex a project is, the more passionate I become. It’s almost like an addiction; I’m fuelled by the desire to take on new challenges and push myself to overcome them.

LBB> What advice would you give to people who are interested in becoming a producer?

Ramojus> My advice for those interested in becoming producers is to develop the ability to juggle multiple tasks simultaneously and learn effective stress management techniques. Additionally, be prepared to prioritise meeting your friends or spending time with family until you’ve mastered handling the demands of the role.

LBB> From your experience what are the ingredients for a successful production?

Ramojus> From my experience, successful productions require belief in your work, trust in your instincts, and dedication through hard work. Success is often the result of relentless effort, with belief and instinct guiding the way.

LBB> What’s the key to a successful production-client relationship?

Ramojus> The key to a successful production-client relationship is honesty, openness, and a willingness to solve problems together without fear. Building trust through transparent communication and collaborative problem-solving strengthens the partnership and leads to successful outcomes.

The festive season, it’s often said, is a time for magic. Perhaps that’s never been as true as it has been in the case of the aptly named production service unit Magic, based across Vilnius, Riga, Tallinn, and Istanbul.

In recent months, the studio has been busy working on some of the most talked-about and well-produced ads anywhere in the world. Whether it be meticulously constructing a unique set for PENNY’s powerful Christmas ad, or channelling Blade Runner and Tron for Yamaha, it’s been a non-stop end to the year for Magic. At this point, however, such ambitious work should come as no surprise as 2021 coincided with a decade in the industry for the company.

To find out how a trio of Magic’s beautifully filmed 2021 projects came together, LBB spoke with Ema Cielyte…

PENNY: ‘The Wish’ 

 

LBB> From a production standpoint, everything about this ad is so seamless and smooth – what can you tell us about the set design for this spot and how did it contribute to that smooth execution?

Ema> Honestly, the set we built here was one of those which you never want to bring down. We built it around the story, and our production designer Tiiu-Ann Pello and her big local team from Vilnius did a masterful job making it best of all worlds.

The team put together a really comfortable working space which also helped make it all look effortless and real. A set of around 250 square meters included multiple moving parts and engineered structural elements – like a moving ceiling and walls – to allow camera movements like the impressive crane top-shot, and allowing steadicam to enter every room easily.

 

Above: A gallery of images taken of the set built by Tiiu-Ann Pello and her team.

 

LBB> How did you go about casting – and for scenes such as the party, were there pandemic restrictions which you had to work around?

Ema> Relatability was a strong goal for our casting on this spot, and on-set there was a really nice bond between mom and son, son and girlfriend, and finally his dad. In the beginning of the film there is a fight scene which, when we were filming, the whole German crew was tearing up as it all felt very real and some hurtful things were shouted, which weren’t even in the script. That is how real it felt to everyone involved.

As for the pandemic restrictions, we were actually shooting this in the heat of July when the restrictions were light, so it wasn’t a huge issue. As a result, it was actually a beautiful moment when the group of teenagers partied together. That is what this whole campaign is about. It was the first scene we did that day, and right after the party scene we wanted to let them go – but all of them practically begged us to stay longer. So we let them stay right up until the wrap party.

LBB> Some of the film is also very stylistic, for example the lighting for the scenes involving the main character’s breakup. How did you guys work with director Marcus Ibanez to bring that creative vision to life?

Ema> This is where our DP Paul Özgür stepped in, and together with Marcus Ibanez they masterfully brought the colours and light needed for the film to come to life.

The lighting transitions were not only needed to make the edit seamless, they also made the film look different. The prelight took two days, as Paul wanted to have control of and program every single light on set.

It’s important not to forget that it’s a Christmas film, even though in many ways it does not look like one. We tried to persuade Marcus to place a Christmas tree in the corner, but he did not want to take the focus away from the emotion. This commercial was ‘less’ in terms of Christmas decorations, but that helped bring forward many more real emotions.

LBB> And on a personal note – what kind of impact does this film’s message have on you guys personally? Is there something you missed out on during the pandemic that makes you want to make up for lost time?

Ema> We fell in love with the story from the very first version of the script we got back in June. It’s relevant to everyone across the world, really, and of course the pandemic messed with our jobs and our heads pretty badly. Last year was rough and bumpy, and projects like this – especially ones that receive international success – are really uplifting and we’re so happy to be able to welcome professionals and productions from all around the world back to Vilnius.

Yamaha: MT-10

LBB> This ad’s opening shot – with the neon red and blue lights – looks like it could be straight out of Blade Runner or Tron. Did you guys take any inspirations like that when it came to setting up this shoot?

Ema> Yamaha’s MT-10 campaign is obviously all about the dark side of Tokyo city, and we needed to bring that vision to life.

The spiral neon light at the very top of the frame is actually a piece by a local artist, which found its permanent home in this industrial location a few years ago. Once we got the artist’s permission for it, the spiral piece mixed with the Tokyo dream idea later on inspired the production design for this shot, and beautifully matched the overall color palette.

A very talented duo of directors, Diego Indraccolo and Alice Gatti, already have massive experience on jobs like this. They kept everything very smooth between all departments, while doing a great job for the client with this new direction.

LBB> The film appears to take place in an Asian city – you can even see that in the signage on the roads! Where was it actually filmed, and how did you guys create that modern & eastern feel?

Ema> It was actually our biggest challenge to create that feeling in Vilnius city, which, being a very old European capital, of course has very little to do with Tokyo. A lot of great work was done in post, but of course we put up neon signs here and there. We surprised ourselves after seeing the final result – it inspired us and reminded us that Vilnius is actually a perfect blank canvas onto which filmmakers can build anything!

LBB> And how much of a challenge was it to secure those clear roads we see throughout the spot?

Ema> It took a lot of preparation but we have to thank Vilnius municipality for always being very open to filming work. Although they are precise and detailed on the preparation, it really makes such shooting days safe and easy.

The speed – of both the russian arm and the motorcycle – were high, and we had rain during the nights, so the conditions were not the easiest. That is where it really helped that we could close some roads completely for the whole shooting period and keep ourselves and others safe, which is always our main priority.

Under Armour: The Only Way Is Through

LBB> You guys were working with real athletes to bring this ad to life. How did you find that process, and what steps did you take to ensure the end result came across as authentic as possible?

Ema> The authenticity here was actually naturally brought about by the athletes themselves. All three – Larissa Herden, Fleur de Jong and Laura Freigang – were so crazily inspirational and they never cut a single corner, even when it came to the ice bath shot. We of course brought in loads of fake ice cubes and prepared to make it warm and nice, but the athlete then said that she wasn’t going to fake it and insisted on a real ice bath.

However, funny story – we somehow forgot to tell the stand-in actress that it was going to be a real ice bath, only realising when we saw her teeth chattering after quite some time. Seems that fighter spirit is contagious!

LBB> The ad seems to change between lots of different locations quite rapidly. How many sets and locations were actually involved, and was there a logistical challenge in filming this spot?

Ema> The director, Amara Abbas, together with our DP Jacob Møller, magically made casual sports locations look and feel very cinematic. It was actually our first sportswear commercial and we’ve been dreaming of doing one ever since we started doing service production.

Our location guys managed to gather the most interesting, even underground, sports areas around Vilnius. Sports locations are usually quite busy with all kinds of classes and competitions throughout the day, but careful planning let us play around every location that the creative team wanted.

LBB> Finally, what was the biggest challenge in filming this ad and how did you guys overcome it? 

Ema> We actually had less than a week to prepare for the first shooting day. But the production, Iconoclast Germany, was together with us every step of the way. Having such special partners makes you want to do every single thing in your power to make it work smoothly and finally leave you wanting more and more, no matter how tough the process sometimes might be. We are forever grateful for our long-time partners Iconoclast Germany for putting their trust in us and bringing such a nice production work for our service.

Having worked with global brands such as Kinder Bueno, Whiskas and Neutrogena, as well as on film and theatre sets including Carmen, production designer Sigita Šimkunaitė has built up an impressive portfolio over her ten years in the industry. Here, the Lithuanian talent shares her experiences and inspirations, and reflects over what makes a good set.

Q> Tell us a bit about how you got into production design.

Sigita> To be completely honest, I never even knew there was such a job title as production designer. Ever since high school I dreamt of and was preparing to become an architect. After acquiring my MA in architecture I spent many years working in architectural offices not ever thinking about commercials or films. But, over time, I started receiving interesting offers to create scenography for theatre performances. I am a huge fan of opera and academic music therefore it was hard to resist. That’s how I started with sets for contemporary opera, dance opera and dance theatre.

My beginning in set design for commercials was also a complete accident. I was finishing an interior project for a family house and one of their friends, a commercials producer, was visiting. She called a couple months later and offered me a job. It took awhile for me to gather up the courage and agree as I had no knowledge of the filming process. All she said was: “If you can design a house, designing a couple of kitchen sets is going to be a piece of cake.”

 

Together Forever film trailer

Q> How do you approach a set design brief?

Sigita> It all depends on the story. If the subject is good, I tend to be able to visualise what the film should look like straight away. I always put a lot of effort into studying the theme very carefully,then I gather as much information as possible from literature, memoirs, archives and visual material.

When I was preparing for the feature film, Together Forever, I even went to observe a couple of hospital surgeries because the main character of the film was an anaesthesiologist. It helped me avoid silly mistakes when shooting the hospital scenes.

Q> You’ve worked on both film and theatre design. Do they differ in any way or is it a very similar process?  

Sigita> The main process in film and theatre is similar. It all starts with a script and the purpose for both is the same: use design to help the storytelling. Having said that, in film, the role of production design is to stay invisible, while staying realistic – unless the script says otherwise. Whereas in theatre the image you’ve created can become a dominant axis or an abstract poetry; a dream. Maybe the biggest difference between the two is the pace of time. In theatre, the pace is a lot slower. There is no second take and the performance can differ with every show.

Q> Where do you draw your inspiration from?

Sigita> I look for inspiration in the aesthetics of everyday boredom; in the festivities of the holidays; in theatre, music, literature and art. The most inspiring, calming and exciting inspirations for me are operas but sometimes it’s having quiet time with a book.

Q> What makes a set stand out to you?

Sigita> For me, a good film is when the viewer does not think about how the set was made. A good film needs a good story and a good director to tell it, as without them even the most beautiful cast and production design is not gonna save it. I sometimes joke that if you can have a good script, you can shoot it on a blank wall or in a single room. The same goes for production design. The less visible it is and the more it blends into the story, the better. The last time I experienced this synergy was when watching The Joker. I always experience it watching films by Andrey Zvyagintsev. He is my all time favourite.

Q> You’ve done quite a bit of work with Kinder Bueno, what’s it like working with them?

Sigita> I have a great working relationship with the brand and have collaborated on several of their spots. I love the comedy element to the series I worked on and it’s always a great opportunity to work with director Ben Gregor and DOP Danny Cohen to bring our ideas to life.

Q> What do you think makes a good production designer?

Sigita> A good production designer is someone who is able to help tell the story through images. Someone able to see the full picture as well as be attentive to detail.

Q> What is your favourite aspect about being a production designer?

Sigita> You never do the same thing twice. You always have the chance to expand your knowledge by exploring, researching and thinking.

Q> How did the IAD commercial with Wanda Productions come to life? It must have been a pretty fun set to design!

Sigita> It was! Quite cathartic to be given free reign to break everything. I enjoyed the spontaneous element to the design, creating the look organically through the process of making a mess.

Still from IAD – Vous Avez Un Nouveau Message

Q> What one piece of advice would you give to an aspiring set designer?

Sigita> My advice is simple: never stop being curious.

 

PENNY’s 2021 Christmas film launched on November 11th and is rapidly becoming a cultural and social media talking point, with #PENNY trending on Twitter and over 4.1 million views on YouTube and 1.4 million views on Instagram. Germany’s biggest daily newspaper BILD has reported on the spot, which has also been shared on instagram by prominent German influencers including Aylin Koenig and Luisa Lion.

“What do you really want for Christmas?” To her teenage son’s casual question, a mother in the German supermarket’s 2021 Christmas film has an unexpected response. She wishes him, after almost two years of the pandemic, his youth back – with everything that goes with it. The idea and concept of the film with the highly topical message originates from the lead agency Serviceplan Campaign in Munich.

[Subtitles can be activated for those who don’t speak German]

The spot, directed by Marcus Ibanez and produced by Iconoclast Germany, is presented online and on social media and can also be seen at German cinemas from November 18th. The film’s storyline is supported acoustically by a world-famous song: arranged and produced by Supreme, at the end of the film, the hit ‘It’s My Life’ (by Bon Jovi) is sung with a new interpretation by the lead actor Julius Gause.

In an accompanying major online competition, PENNY is presenting young people with some of the things they have missed during Covid-19: 5,000 intensive adventures and defining experiences. Befitting the campaign’s message, for the first time in its history, PENNY will be giving away six trainee positions together with a free communal flat share.

Sneaking out at night surreptitiously, neglecting school, celebrating wild house parties and having their heart broken – all the things parents, out of concern, would rather save their children from. The mother in the current PENNY Christmas film does the opposite. She would like her son to be able to finally catch up with these experiences that belong to growing up and which he couldn’t have during the pandemic.

Stefan Magel, REWE group management board member for German Retailing and COO of PENNY said on the intention of this year’s campaign: “Young people, especially, have shown the highest level of solidarity during the pandemic and put aside their own interests unconditionally to protect older people from the consequences of the pandemic. It is important to us to show with the Christmas film and the campaign accompanying it that young people have paid a high price for this. On behalf of everyone we should like to thank them for this and give something back. That’s why we have also decided, in addition to the competition, for the first time in the history of PENNY, to give away six trainee positions together with communal flat share places in Hamburg and Berlin as well.”

Christoph Everke, creative managing director of Serviceplan Campaign commented: “During the last two years, much has been said about older people, parents, home office and care, and rightly so – children and young people had no voice. We want to change all that with the mother’s unusual wish, the impressive and sensitive images, the unbelievable acting of the performers and the song which the lead actor sings at the end.”

Marcus Haus, marketing director of PENNY, expands: “PENNY is close to people and it is a little tradition that in our Christmas campaign we put the focus on a theme that moves people. As a discounter in the neighbourhood, we have experienced in these challenging times at first hand how difficult the pandemic and its social consequences are, especially for young people.”

PENNY is giving away more than 5,000 unforgettable adventures and intensive experiences in a major online competition up to December 24th – including, among other things, the opportunity to have perhaps the best time of their life on an Interrail trip through 33 countries; to take part in stories with fellow students in a belated school leaving celebration, which will still be talked about 20 years later in a class reunion, or at last to see favourite bands live again at a music festival, and much more.

In keeping with the importance of the campaign, PENNY, for the first time in its history, is giving away six trainee positions which are linked to a free flat share room in one of two trainee communal flat shares in Hamburg and Berlin for the entire duration of the training.

The PENNY Christmas film, under the directorship of Marcus Ibanez, is accompanied by other campaign assets and can be seen on the PENNY YouTube, Facebook and Instagram channels. It will also be available to see in its entirety in the cinema from November 18th. In total, six pre-release snippets have been creating curiosity about the Christmas film on the PENNY social media channels since November 4th. Adverts for the big online competition can be seen, among other platforms, on TikTok.

The PENNY Christmas film was produced by Iconoclast Germany, with production service from Magic. In addition to Serviceplan Campaign in Munich, Plan.Net Technology were on board for the development of the website and Neverest as production agency integrated within the Serviceplan Group.