When it comes to auto repair ads, we’re so used to seeing guys in greasy blue overalls fiddling underneath car hoods. AAMCO asked us to write, design and direct a spot for them that would change that perception.
How do you shoot four wheels and a chassis ripping through downtown San Francisco with no engine to propel it and no driver to steer it? A design and executional approach with a whole lot of CG going on…
Muybridge devised his innovative photographic technique in the late 19th Century to visualize truth in motion. In this curtain opener for the Newport Beach Film Festival, the only thing visually truthful is the Interstate.
When collaborating with acclaimed director Wes Anderson you listen well and do your very best to execute the vision. We previs'd, supervised and stitched together this Academy Awards spot with Wes down to the frame.
The brief was to stop time on the PGA Tour and freeze seven tour pros in mid-swing like ice sculpture. The challenge was there was no Tour to film and you can't freeze wind and sun over an 8 hour shoot day.
This script got us so excited we decided to pitch a test film to the agency that ultimately landed us, and director Sean Thonson, this project. Twenty-five below zero on a frozen lake bed made the CG and compositing on this beautiful spot feel like a waltz in the park.
My what a big boat you have. Director Noam Murro and Innocean asked us to help build luxury into places you don't often find it. A total value of $100 million worth of on-screen opulence - all created in CG.
Have you ever imagined how superhydrophobic forces work… Nor had we until we were sent a prototype sample of Neverwet by our friends at McGarry Bowen in Chicago.
Terminix in Sin City was the brief. From concept sketches to three finished spots in as many weeks. We previs'd with director Gerard de Thame and shot actors against green screen. Everything else we generated in CG.
This was risky advertising. How to repair LeBron's tarnished image in one TV commercial. The amount of CG and comp love that went into this spot was no joking matter. But it looks like LeBron's laughing now.
We set out across the rugged beauty of Malibu in search of those moments where great light does great things to sheet metal. Only hitch: the all new Malibu hadn't rolled off the assembly line yet. The backgrounds were created with stills cameras. The car was created with CG.
Our friends at RPA along with Dayton/Faris made this campaign over three years a perfect example of how a strong brand and bold agency concepts make for great advertising. You'll find the rest of the campaign in our work section.
Fernandina Beach in Florida had a real problem. Their wooden boardwalk had been beaten into submission. Our job was to recreate that wear and tear story and save the day with a thick coat of Rustoleum paint.
McCann Detroit asked us to create a library of running footage using a CG car and CG location. We thought if you're going to go through all the trouble you might as well build a new campaign out of it.
We had a lot of fun creating a seamless flip book of seasons for this all-weather tire spot. And while it may look like a simple in-camera job, this spot was all shot on a bright sunny day on the same stretch of road.
This was a dream project. We were given a blank canvas. The only caveats were that the film needed to be about Visa, heavily involve travel and we only had 5 days from award to delivery.