I knew while we were there that Light Hits would come in to help. Take after take to get the look right. I had no choice but to cut it out in the editing room. When I was storyboarding the project, I knew I wanted a scene where the car turned on and seemed like it rumbled the whole barn. Nate Gunn is a Salt Lake based visual storyteller with a passion for non-traditional advertising. That part was all done in the edit, not in-camera. From delicate to intricate to bold, the glass textures in this pack offer you a unique way to build intrigue in a scene, complement your subject, and accentuate or soften parts of your shot.
Going into production, I already had a couple scenes in mind where I knew adding a little extra piece of light with Light Hits or texture with Luminary was going to work well. On our last night, we did this brutal hike up to an area called Castleton rock. He has worked with the likes of the Chainsmokers, Steve Aoki, Martin Garrix, on top of his work with the biggest brands in the world. The location of that last shot in the commercial was definitely the scene I wanted most for the project and it had to be just right. We also turned up the shutter on the camera to help add some of the motion feel. What challenges did this project present? We were on set, all ready to shoot, and we were looking at the time.
I had already digitally scouted everything the week before, so in the morning we took a quick look at the spots and everything checked out well. Tell us about the look and feel you were going for. We knew the idea had to be simple, something we could shoot over a weekend with a small crew and lean resources. We had the tightest deadline and Kevin is a busy guy between having a successful career in photography and four kids. I wanted to really show a true photographers reality. When we were shooting the interiors of the car, I knew I wanted this red light to be passing over the driver.
In the beginning, the client was looking to shoot an actor portraying a photographer. Luminary is the definitive example of this signature style. I finished out the storyboards on the drive. Since the beginning, distinguished glass effects have been a hallmark of Lens Distortions. I was thinking title sequence beauty, seamless transitioning moments of wonder, more music promo and fashion film. The result is a dark sophisticated image palette with rim lit form.
During production, it was reassuring to know I could fine tune the look with Lens Distortions. I wanted 80 percent of the shots to be pre-morning light and sunset. That was a hard one to cut. I had the whole spot pretty much put together and storyboarded before we shot, leaving a little wiggle room for any unexpected moments. I was so close to not submitting a pitch on this one. And to visually show that, we had this table full of tools that our grips shook really hard, and then in post, I used Luminary to add some extra movement to the shot to help make it look a little more dramatic.
A key challenge came in art directing the rolling highlights across the form of the Ghost. A guy shooting in a studio or out on a simple model shoot. I pitched the idea of my photographer buddy Kevin Winzeler out on an actual assignment in Moab, Utah. We ended up having a lot of these gorgeous storm clouds the entire time we were out there. I think the fire alarm went off a few times. We had a gimbal and just regular set up. So toward the end of the day, we made an hour-and-a-half trip in hopes that this last spot which I had been avoiding due to the long drive would give us the setting we needed.
Paul brought some interesting ideas to the table when it comes to color and hues. They loved the concept and even switched the featured truck over to the Sierra All terrain model. Again… no budget, we had to be creative. This became a particular focus for our lighting team to ensure this was communicated as effectively as possible, and also played into our post treatment in 2D. We just went to Walmart and bought a mosquito fogger and filled it with mineral oil. Lenses were a set of Leica Rs some of my all-time favorites. What made your pitch different? I decided to go for it and just do me.
So we were all freaking out. When he uses our glass overlays, we get a solid example of how to employ the effects both creatively and sparingly at the same time. Over the past decade, his work has taken him to 35 countries and 6 continents. I had just picked up your 4K Luminary and Light Hits effects packs, so they were top of mind when I set out on this project. The trek was worth it, the location ended up being perfect. Luminary is the quintessential example of this signature style. A big reason I choose Moab as the location for the project is because of the frequent storm systems that role through.
I just knew that for a truck brand a real story would play better to their viewers. From delicate to assertive, these glass textures offer you a unique way to complement your subject, accentuate or soften parts of your shot, and add complexity to your film. From delicate to intricate to daring, the glass textures on this pack give you a novel technique to construct intrigue in a scene, complement your topic, and intensify or soften components of your shot. White in Revery shared some of their best tips for editing wedding videos with our Light Hits lens flares and Shimmer particle effects. When Matt Komo and friends find themselves in Hawaii for a week, we get a fun perspective on one of the most beautiful states in the union. They help add a touch of nostalgic feeling to what can sometimes be stark and crisp environments.