It’s easy to overlook the details in a visual story sequence. This project shows some pretty good storytelling on the fly. How do you tell semi-complex stories in a fraction of time, make it look great, and shoot it all in a day. Well one you don’t, we took the table-top elements and squeezed it into a separate day of shooting. But there’s still a lot going here: Three couples, three stories, emotion, intimacy, everything on the move with room for product close-ups. To ensure everything looked natural and great we had to remain flexible and fast with the changing light. For example the 4 second interaction and blocking between the guy and girl crossing paths had to be replanned on the fly. The opposing action, the camera breaking the plain, the changing speed, the glance, the eye contact, the reaction, the end frame for titles. Everything was planned and blocked three optional ways to accommodate best sunlight. However the remaining problem was screen time for the entire exchange. The solution: a non-linear jump cut in time. It’s subtle. When we see the girl cross frame the first time she’s looking to her right. On the next cut she’s looking to her left. Despite breaking some traditional rules, the jump in time feels seamless and keeps everything moving. Visualizing stuff like this on the fly with all the other moving production parts is incredibly tricky and one my favorite the things you’ll find sprinkled throughout my work. I don’t geek out on gear, I geek out on tricks of story-telling.
The first national campaign for Bauble Bar, a game changing online retail company for jewelry.
A nod and modern update to Nair's popular "Short Shorts" commercials.
"Street Dance" :30
"Moroccan Argan Oil" :30
"Brazilian Spa" :30 sec
"Brazilian Spa" :15 sec
Commercial direction for numerous beauty campaigns and clients. Particularly Unilever (Rexona, Shield), Nair, Nivea and Dove.
One day looking outside my window in New York I thought, "I bet I could figure out a way to animate all these lights to music." I clung on to that idea until I moved to San Francisco. By then I wanted to apply it to a stadium. I shared the idea with a friend and he encouraged me to shoot a test. I did, in my kitchen. I took that test and pitched it to the NFL. One thing led to another... then I got lucky. In one night with a dozen enthusiastic photographers camped out at Century Link Field we coordinated and bracketed each light bank and bulb one at a time. The rest is a bit geeky and overly technical. Enjoy!
Produced, Co-Wrote, Directed and Edited
Co-Wrote, Produced, Shot and Edited.
"About You" - What first started off as a new campaign for the morning team to air during the Super Bowl expanded to become a broader campaign for the evening news team as well. The goal: Capture authentic vignettes of the Bay Area's incredible energy, as well as the station's, expressing what our news is essentially all about... "you."
"Bridges" - The last spot was part of our "Bridges" campaign. The bridge motif was used to express the role of our legacy news brand as one of the important bonds tying the incredibly diverse Bay Area together.
A fun East Coast campaign for Parx Casinos. "Step Into Epic" & "So Vegas you'll think it's Vegas."