Úri Muri: A New Drinks Story

The Úri Muri project in Győr combined two uses of visual content. The business wanted image photographs for the bar’s walls and short videos introducing drinks from its range. That meant the work had to function in the physical venue and on a phone screen. The subjects overlapped, but the way people would encounter them was different.

The photographs give individual drinks a considered place in the frame. The videos add preparation, pouring and small changes in the finished presentation. Together, they describe part of the bar’s identity through the products it serves. The selected original photographs and finished films on this page show that relationship. The project is an example of my photography and short-form video work planned around different uses within one business.

Images intended for the bar itself

Photographs placed on a wall become part of the setting. A guest may see them across the room, in passing or while spending time at a table. The image needs a clear subject and enough visual strength to hold that place. It also needs to feel connected to what the business actually serves and the atmosphere around it.

For Úri Muri, drinks were the subject of the image work. The photographs use glass, colour, garnish and the bar background to make each item recognisable. They give the venue its own products to display rather than relying on unrelated decorative images. The intended wall use was part of the brief, so the photographs had a destination beyond a temporary social post.

A new drinks range as a video subject

The video brief focused on introducing drinks from the business’s range. A short film can show a product coming together, then give the finished glass a moment of attention. That simple sequence helps a viewer understand what is being presented and gives the content movement that a single still photograph cannot contain.

The archive includes several finished drinks videos. Some concentrate on the preparation of one item; others move through a small selection. The selected films on this page show those variations. A business planning similar material should decide whether it needs one product demonstration, a menu overview or a series of individual pieces. The product video cost guide explains how those deliverables affect a production scope.

Working with glass and liquid

Glass is a useful subject because it can carry colour, reflections, texture and shape at once. It is also demanding. The edge of a glass can disappear against a busy background, and reflections can draw attention away from the drink. The photograph needs to make the intended subject clear while keeping enough of the bar’s setting to feel connected to the place.

Liquid adds another visual layer. Colour, ice and garnish can help distinguish one item from another. A close composition can make those details readable without a long caption. The selected photographs show the drinks against the bar’s own background, allowing the setting to support the image. This kind of product attention also appears in my Macaron Boutique work, where texture and presentation carry much of the story.

Keeping a relationship between the drinks

A set of menu images should feel related while letting each item retain its own character. Consistent treatment of the background and framing can create that relationship. The colour and glassware then provide variation. A viewer can recognise the collection as belonging to the same bar without seeing the same image repeated with a different label.

The glass itself contributes to the presentation. A tall textured glass, a shorter glass and a stemmed shape give different drinks a different outline, helping the collection retain variety even when the background remains familiar.

The Úri Muri photographs include blue, green, red and cream-toned drinks, with attention to the glass and presentation. Their differences provide a useful visual range. The shared setting keeps that range coherent. A product photography brief can help plan a similar collection by listing the products, intended uses and required views before the session starts.

Showing the action behind the finished glass

Preparation gives a drinks video a natural sequence: a glass is ready, ingredients arrive, the presentation changes and the finished product becomes clear. The viewer can follow that action without needing every technical detail of the recipe. The purpose is to introduce the product and the bar’s work, rather than publish a complete instruction manual.

One of the selected Úri Muri films follows the making and finishing of a green drink. Hands, pouring and the garnish provide the movement. Other edits give separate finished items their own moments. These are small actions, but they make the video specific to the product. The short-form production guide explains how one clear subject can support a concise, understandable edit.

Photography and video have different jobs

A wall photograph needs to work as a single held image. A video develops through time, using the relationship between one moment and the next. Planning both formats around the same drink can be efficient, but the two outputs still need their own attention. A frame that works during a pouring sequence may not be the strongest still image for a wall.

For this reason, a combined brief should list the required photographs and videos separately. The commercial photography service can cover the image collection, while short-form production defines the films and versions. The Amber Oxygen Therapy project provides another example of photographs and short videos serving related but distinct communication needs.

Making the setting part of the identity

The background in the Úri Muri material is part of the bar’s visual world. Bottles and colour give the drinks a place to belong. A completely neutral background would communicate the products differently. The brief concerned a bar and its own drinks range, so retaining a relationship with the venue helped the work feel specific.

The product still needs to lead the image. A background can establish place without demanding equal attention. Depth, framing and the position of the glass can help make that hierarchy readable. This balance between setting and product also shapes the Buga Ramen restaurant film, where an immersive interior and the food need to support the same impression.

A short edit can introduce a range

A business may need to show more than one item without making a long menu film. A short sequence can move between finished drinks, giving each enough time to be seen. The challenge is preserving variety and clarity together. If the edit moves too quickly, the viewer may register only colour; if it lingers without purpose, a simple introduction can lose its pace.

The archived Úri Muri films contain several approaches to the drinks. The selected examples allow the viewer to compare a preparation-led piece with edits that give finished items more emphasis. The short-form versus long-form guide helps choose how much detail belongs in a particular format. The right duration depends on what the viewer needs to understand.

Planning images for both online and physical use

A combined project needs to consider where the work will be encountered. A wall display, website page and social feed have different dimensions and viewing distances. The business should identify those destinations before production so important details are not lost through an unsuitable crop or export. For print, the required size and production specifications should be confirmed with the print supplier.

The image photographs in this brief were intended for the venue’s walls; the videos gave the drinks a moving format. That is a practical example of one production serving more than one part of the business. The commercial photography planning guide covers the questions that make those uses clear, while the video quote checklist helps specify the finished edits.

What the finished work demonstrates

The completed material gives Úri Muri a set of drink-focused images and short films rooted in its own bar setting. The photographs show individual products with consistent attention to glass, colour and presentation. The videos add the sequence of making or introducing them. The different outputs share a recognisable subject while serving their own destinations.

For my portfolio, the project demonstrates how I connect a business’s physical space with the content it uses elsewhere. A photograph on the wall and a film on a phone can contribute to the same identity. You can assess that relationship directly in the gallery and players on this page. For another people-and-place photography example, see the Dublin SaaS networking assignment.

Planning a similar hospitality project

Start with the products, the reason for introducing them and the places the content will appear. A new drinks range, seasonal menu or venue refresh can each lead to a different brief. Identify the items that must be ready, the person who can prepare them and the time available in the space. Add any photographs required for print so they are planned alongside the digital assets.

For regular updates, monthly social content production can be discussed around the business’s actual schedule. A single focused session may also be enough. The content day versus business film guide helps compare those approaches. You can read about my background or send the drinks, intended uses and location to begin a proposal for a combined photography and video project.