Wednesday, June 8, 2016

Liquidspace "Business Meeting"





Credits:

Director: Yiuwing Lam
Writer: Chris DeNinno
Director of Photography: Christian Evans
Producer: Russel Sher
Production Designer: Pam Chien
Editor: Yiuwing Lam

Why this script/concept? How does it reflect your vision as a commercial director?

I thought Chris' script was really funny and well written. It really jumped off the page for me in terms of the hilarity of the concept and it was easy for me to imagine the chaos of trying to hold a meeting at Chuck E. Cheese...since I've spent so much of my early career holding pre-pro meetings at Starbucks... 

As a director, I love comedy that's visually absurd but grounded in realistic characters. That way, the audience can relate to the characters even when they may be in situations and environments you could never imagine them to be in.   

What was the casting process like?

We used an online casting service and held digital auditions. We found our two Businessmen as well as our kids this way. The cast was great-- especially Chris Bonomo, the lead Businessman, who I think really "nailed it". To round out the cast, my wife drafted her co-workers who used their vast experience in corporate America to give very "method" responses.  

How did you search for/lock a location?

The script took place at Chuck E. Cheese so we knew it had to be a Chuck E. Cheese. Luckily, they had a sense of humor and said yes!

How did you select your DP, crew?

I've worked with Christian Evans, our DP, and Pam Chien, our PD, on a bunch of spots and not only are they talented and fantastic people, they actually like working with me (or so they pretend)! So it was a no-brainer to work with them on this-- they're fantastic! And our producer Russel Sher came aboard via a recommendation and since then I've had the pleasure of working with him on  more spots-- he's a calming force of nature.

How did shooting go? Any challenges?

The shoot went super smooth. We actually wrapped ahead of schedule. That's a testament to the professionalism of the crew, the amazing actors and Russel's awesome producing chops. The only real challenges was the early 5am call time but surprisingly the kids weren't affected by this at all. Go figure! They were at Chuck E. Cheese, playing games, eating cake and spritzing each other with water guns-- they literally didn't want to leave!

Tell us about editing and finishing.

Since we had no budget to hire anybody, I did the editing myself on Premiere, mixed it in Adobe Audition, and did the color correction in Da Vinci Resolve. It was actually really fun but definitely time consuming. 

In retrospect, is there anything you would have done differently?

Hmmm.... everything went so smooth, I really don't think there'd be anything I'd like to change. Maybe better crafty? Though, this was a spec....

Thursday, March 10, 2016

1-800-DENTIST "Halloween"





Click to watch.

Credits

Director/Producer: Clayton Broomes, Jr.
Writer: Daniel Gray
Cinematographer: Kimberlee Venable
Editor: Kyra Uniejewski
Colorist: Donato Boccia
Production Sound Mixer: Brian Neris
Post Sound Editor: Carlos "Storm" Martinez - Creative Mixing
Art Production/Wardrobe: Susan Olupitan
Dentist: Keith Johnston
Father: James Ware
Mother: Sidse Ploug Soerensen
Son: Sebastian Broomes
Daughter: Simone Ware
Voice Over: James Scott

Why this script/concept? How does it reflect your vision as a commercial director?

The script spoke to me immediately. I am a fan of outrageous, over-the-top comedy in commercials, the kind you see come from Geico. I also felt it would be doable considering the budget I had to work with.

What was the casting process like?

I've made a few shorts and one award winning feature film in the past, and the casting process for those previous films were nothing like the casting process for this commercial. Since I had working relationships with so many actors, I just cast actors I knew. The dentist Keith Johnston starred in my feature film (Pro-Black Sheep) and in my most recent short film (Grey Dawn). He's talented and great to work with. I figured I would cast my son to play the son and his classmate from Pre-K to play the daughter, who I have seen perform in a school show and thought she would be a natural. We're close with her mom and knew her dad was also an actor, so it was a no-brainer to ask him to play the father in this commercial. As for the mom, she was referred to us by an actress friend who couldn't do the weekend we planned on shooting. And there you have it...

How did you search for/lock a location?

I just used my mother's house here in Brooklyn.

How did you select your DP, crew?

My friend Ellie, who also starred in Pro-Black Sheep, is doing graduate studies in film at Columbia University and I asked to see her reel to choose a DP she worked with. Kimberlee's clip was the shortest on the reel but I knew right away that she can help get the look I wanted for this commercial. The production sound mixer Brian was referred to me by one who I worked with on Grey Dawn.

How did shooting go? Any challenges?

Shooting went really well. The easiest thing I ever shot so far in the 17 years I've been picking up the camera. The only problem was the lawn people using a leaf blower in a neighboring house around the corner. I had to go to them a few times to let them know we were shooting and that the blower is ruining our sound. They were respectful about it. Unfortunately, it was the neighbor that demanded they do more. Eventually, they were finished and the sound was fine. The best thing was the overcast I desired for the production. It was great.

Tell us about editing and finishing.

I had my editor Kyra Uniejewski edit the film without me present. She edited my latest short but now lives in Jersey. Being at her place wasn't necessary. She would do a cut and I would give her notes, back and forth. There were at least 4 to 5 rounds of this until we got it just right. She's good like that. Then I turned to Carlos "Storm" Martinez, an aikido buddy of mine, who did sound editing for such films as the 2010 Oscar winning short film God of Love. Like my editor, I wasn't present to walk him through post sound. It wasn't necessary. He did 2 cuts with notes and it was done. I worked with colorist Donato Boccia who was referred to me by Kyra for my short film Grey Dawn. Again, I wasn't present. He gave me 2 samples and that was it.

In retrospect, is there anything you would have done differently?

More coverage. It wasn't necessary for a 30 second spot but it never hurts.

Any other thoughts.

The original spec didn't have the parents running away, screaming, abandoning their children. I thought of it and ran it by Daniel Gray, the copywriter. He thought it would be funny so I did it. And Keith Johnston as the Dentist improvised the "You want some candy" line in the end.

Thursday, February 4, 2016

SiriusXM "Fountain of Youth"



Credits:

Director:  Paul Yates 
Creative Director:  Daniel Gray
Cinematographer: Clive Lawrie
Producer: Darry Tuchman
Editor: Paul Yates
Colorist: Pudding
Audio Post: HeyPapaLegend
Audio Mixer: HeyPapaLegend
Art Director/Warddrobe - Renate Schulz
Old Man: Alan Barsdorf

Why this script/concept? How does it reflect your vision as a commercial director?

I loved this script because it required a strong performance from my lead and it had a subtle and smart humor that is hard to find in commercials. The concept was also very character-driven which I like. 

What was the casting process like?

The casting process was quite unusual because it required us to audition elderly men who had to dance for us. We saw A LOT of older men dancing for us so at times it was quite funny. It was a challenge finding someone who was elderly but still had a youthful energy about them. I think we succeeded in finding the perfect person with Alan. 

How did you search for/lock a location?

We needed to find an old age home that had a lot of character. We literally just searched online for retirement homes and went to see them. We got lucky with our location (The Nazareth House) as it wasn’t listed on many sites but we somehow stumbled across it. The building is over 100 years old and has amazing props and furniture (like the porcelain bulldog in the beginning of the spot) so we didn’t have to do too much set decor/art direction. A lot of it was already there!

How did you select your DP, crew, etc.?

I got my DP’s name through my producer who showed me his reel. I was looking for a cinematic look for the ad and Clive’s reel really had some beautiful shot stuff. He also is just a really nice guy and we were on the same page with alot of the ideas. The rest of the crew I found through friends and my producer. 

How did shooting go? Any challenges?

Shooting went well. We didn’t go over budget or time and managed to get all the shots we wanted. The main challenge was really nailing the performance. Alan, the lead, struggled (understandably so) to evoke that energy and emotion with every take and as the takes progressed there were more and more breaks in concentration so we really had to try and manage that as much as we could. 

Tell us about editing and finishing.

I edited the film myself with the help of a friend. The main challenge was really being ruthless with the material and identifying what was and wasn’t important to include. You have to work really quickly in a commercial to establish the scene so it was tough to balance that with making sure we didn’t have too much in there. We also found the song being played in the beginning in post so it was great to see how that brought the film alive and I tried to match the rhythm of the edit to the song as well. 

In retrospect, is there anything you would have done differently?

In hindsight, I would have given myself more time with Alan’s performance. I should have let Alan work through the scenes a bit more to find that authenticity instead of having to cut around things in post. All in all though I think Alan was great and I’m happy with the final product!! 

Thursday, September 17, 2015

Tide to Go "Couple"


Click to watch.


Director:  Mark Nickelsburg
Creative Director / Copywriter:  Shiraz Gani
Creative Director / Art Director:  Barbara Graetzer
Production Company: TinyGiant
Executive Producer: Veronica Diaferia
Cinematographer: Benji Bakshi
Producer: Stacey Wilson
Post Production: Nice Shoes
Colorist: Lenny Mastrandrea
Audio Post: Sonic Union
Audio Mixer: Brian Goodheart
CAST:
Couple:  Matt Marr and Karl Ramsey
Church Lady: Lynne Marie Stewart
Pastor: Alan Abelew

Why this script/concept? How does it reflect your vision as a commercial director?

I think I read every comedy script on Spec Bank and this was my favorite! Written by Shiraz Gani, it’s a gem that works on multiple levels. It has conflict and the joke is structured perfectly by setting up an assumption and then pulling the rug out. Like any great advertisement, it’s simple, clear, shows the product benefit, and is perfectly on brand. For a comedy director this kind of script is a playground for creating characters, working on all the fantastic subtext, and developing the visual language that’s going to support the story and make it even funnier. And when the idea is so strong, there’s a freedom to experiment and try out funny ideas around without being afraid that the concept will collapse.

What was the casting process like?

Through my work in comedy I knew Actor Gary Anthony Williams and producer Stacey Wilson, who are both connected with the Groundlings.They introduced me. And what a brilliant cast! You might recognize Lynne Stewart from her role as Miss Yvonne on Pee Wee’s Playhouse, and as Charlie’s mom in It’s Always Sunny in Philadelphia. Then Matt Marr and Karl Ramsey are brilliant as the couple. They created distinct personalities and a interpersonal dynamic that I think all couples can relate to - so that we care about  what happens to them. They also had to be angry but weary at the same time, so there has to be a little bit of, “I can’t believe we have to deal with this again, especially on our wedding day.”  And at the same time being a little measured for fear of it getting out of hand and ruining the day. Then for Lynne, she had to be believable before and after the reveal. The audience can’t feel like we cheated in the misdirection. At the end you have to go back and think, “oh, she was just a stickler for appearance,” and have her performance work for that too.

How did you search for/lock a location?

I couldn’t afford a scout or pay a substantial location fee. And since I don’t live in L.A. my search included literally clicking through every church I could find on Google Maps in the LA area and looking at the street views. Stacey helped out a ton by visiting many of the places as well. Architectural qualities, being able to shoot in three directions, noise levels were all factors. I had very specific features in mind, the most important being the steps leading up to the doorway where the confrontation takes place. The church lady standing above the couple gives her character the dominant position. We finally hit the jackpot with St Albans in Westwood. They were incredibly supportive. It has this great patio which looked beautiful from all three camera directions and that nice row of arches as a background for the couple’s walk at the beginning. It also made staging, blocking and crew logistics very easy.

How did you select your DP, crew?

The DP, Benji Bakshi, was recommended by a mutual friend, director Dave Green. Benji was incredible, talented, efficient, he lit the scenes beautifully, and I liked that he did not just tell me what I wanted to hear. He got involved early, and pushed me to expand the budget for additional crew and lighting gear. I balked at first but it’s honestly not worth doing a spec spot if it doesn’t look like real work. And in the end he was right. The weather changed all day long and he and his crew were able to control the conditions beautifully because they had the necessary team and equipment.

How did shooting go? Any challenges?

The shoot was a joy. That’s a credit to the cast, Benji, producer Stacey Wilson, and the entire crew. I could focus completely on the actors and we had a lot of time to improv, try to find just the right emotional tone and even test out alternate lines.

Tell us about editing and finishing.

I think it’s important to make a spec spot look like a real commercial and luckily some awesome folks donated their time. Lenny Mastrandrea is the head colorist at Nice Shoes and, well,  the images speak for themselves. Then we had Brian Goodheart at Sonic Union who did a perfect job on the sound mix. The only unexpected thing was adding a little sky replacement in the first and last shots.

In retrospect, is there anything you would have done differently?

Because there’s always things you want to differently on every job, it feels really strange to say that this was a rare exception that exceeded my expectations. I met Shiraz Gani and Barbara Graetzer, the creative directors who came up with the concept, months before we actually shot. We had a lot of time to develop the script, continually revise the boards, search for cast and location, think about the who the characters were and really talk through every detail. Stacey, our producer, came on board about three months ahead of time.  By the time we got to the shoot, we were incredibly prepared and then the cast and crew took it to the next level. You rarely get that opportunity.

Any other thoughts.

The response has been overwhelmingly positive. As of today, the spot has over a million views on my director page. It’s been featured in Time, Adweek, Fortune, AOL, Huffington Post, and even on several news broadcasts because opposition to same sex marriage is still very much front page news. The comedy comes from upending the viewer’s assumptions and it’s terrific that progress is hopefully moving faster than our expectations. There’s a laugh in the wonderful sigh of relief both for the on-screen couple and for the audience.

Thursday, August 13, 2015

Lowe's "Chainsaw"




Credits 
Producer/Director: Michael Leary
Writer: Dan Sorgen
DP: Derek Korogodsky
Assistant Director: Tony Lopes
Sound: David DeLizza
Key Grip: Daniel Innovate
Matt Kozar: PA
Make Up: Jessica Lembo
Behind the scenes Photographer: Matthew Salamone
Editor: Michael Leary
Colorist: Evgeniy Yavtushenko

Cast 
Lowe's Spokesman: Jim Crumley
Lowe's Salesman: Leer Leary
Woman: Liz Chuday
Kid on Bike: Bennett McMullen 


Why this script/concept? How does it reflect your vision as a commercial director?

I have always felt I was strongest in comedy, and as I developed my style I found myself influence by the Looney Tunes cartoons I grew up with. I always found that type of cartoonish violence funny, and it seems to influence my style in the scripts I choose and the style at which I direct them. When I read the script I instantly loved it and had a vision for it right away.

What was the casting process like?

I had actors that were interested in auditioning send me self-recorded auditions online. I was flooded by a lot of actors who put a lot of effort into their auditions with props and creative editing. It was difficult to narrow down the final choices but I ultimately went with my gut and I am VERY happy with the final choices made. 

How did you search for/lock a location?

The script ultimately had two locations, and the first one required a spokesman from Lowe's. I knew it was going to be a big challenge getting an actual Lowe's location to allow me to shoot inside for a spec, so I decided to shoot the spokesman in the parking lot of a Lowe's around the corner from my house gorilla style. I was able to shoot far enough away where any employees would most likely not ask questions or interfere. There was a time during the shoot where a Lowe's truck with employees stopped about 50 yards away and watched us for a minute. They eventually drove away to our relief. I think they may have thought we were shooting an actual spot or promo for Lowe's. By the time they came back to the store we were out of there.
For the second location, Matt Kozar who is always a PA on my shoots, offered his parents' house to me. Their house and neighborhood was exactly what I was looking for. 

How did you select your DP, crew?

The DP Derek Korogodsky is a friend of mine who has extensive experience in commercials, music videos, and short films. He is always on board to help me and expand his reel. We shot the spot on my Black Magic 4K production camera in DNG raw. 

The rest of the crew are good friends of mine who are all involved in  production and volunteer their time to help out on my spec spots. They are all very professional and bring a fun and positive vibe to set. On spec spots, I feel stress needs to be left at the door. With all of the pressures of productions for clients, I always like to be sure spec shoots are as fun and relaxed as possible. It always helps the creative process and ensures the cast and crew who are doing you a big favor will have an enjoyable experience.

How did shooting go? Any challenges?

The shoot was probably the smoothest commercial shoot I have ever done. There are usually challenges and issues on every shoot but this one stands out to me as one of the best. I think a big reason for the production going so well was the amount of time I spent on the pre-production process. Everyone knows how important pre-production is and how it can drastically affect the outcome of a shoot(especially with little to no budget). I made sure to plan it meticulously, which had a huge impact on the 2 days we shot.

Tell us about editing and finishing.

I transcoded all of the raw footage to Apple Pro Res and edited the spot in Adobe Premiere CC. Most of the sound fx we recorded on set and any remaining sounds were downloaded from a foley website I belong to. I had the spot colored by Evgeniy Yavtushenko, a Brooklyn-based editor and colorist. 

In retrospect, is there anything you would have done differently?

If I were to do anything differently, I would go back and create a treatment and have professional story-boards created. I story boarded it myself and as my crew will tell you, I am probably the worst storyboard artist of all time. :) Besides these two aspects, I am very happy with the entire process.

Any other thoughts.

I just want to thank Dan Sorgen for creating Spec Bank and for writing a great script. I also want to thank the cast and crew for helping to create a spot I am proud of. 

Wednesday, June 24, 2015

GILT "Too Bad"



Credits (director, writer, DP, producer, etc.)

Director, Editor: Mark Jwayad
Writer: Dan Sorgen
Producer: Ian Lindsay
Cinematographer: Topher Osborn
Production Designer: Gill Gayle
Sound: Sean Oakley
Color: Brain Hutchings

1st AC: Mike Lemnitzer
2nd AC: Moses Davis III
Gaffer: Zach Rasmussen
Key Grip: Tyler Manning
Swing: Team Bashet
Best Boy Grip: Taurean Reynolds
Make Up: Olympia

DAD: Garry Guerrier
DAUGHTER: Juliette Amara
SON: Isaac Amara
MOM: Gia Mora

Why this script/concept? How does it reflect your vision as a commercial director?

Currently, my reel is very dialogue/comedy driven and I felt that this GILT script was another way to show how I handle this medium. Most comedy, if not all, is a misdirect. This was a big misdirect. I saw a great chance to make something that could feel like a car commercial and then turn it on its head. It was a lot of fun.

A lot of my work has the audience learning the outcome of the characters at the same time the characters do. I've always been attracted those small little moments that just go south in a comedic way. Dan's GILT script was different, in that the audience are discovering what the characters already know, I loved that. He wrote it so well that I could see it clearly in my mind, not only is that a sign of well written copy, but from a director's standpoint, a big consideration in choosing a piece.

Being on the phone while with other people is also a topic that most of us can identify with. I love how the script dramatize this. However, elevating something to a level of comedic “drama" can tricky, and it needs to be done well for it to come off in a believable manor. This is true for both the dad and the kids as well as the mom. If it isn't done right, it can get into eye-role territory very easily. Again, this is another aspect that drew me to this script.

When it comes to spec scripts, I'm always considering both the concept and the brand. It is the only time you have control over both. I think it is smart to curate a spec reel that keeps this in mind. For me, GILT as a brand fit well with what I have on my current reel, and the concept for the spot also added a new dimension to what I have. 

What was the casting process like?

I've been in commercial casting for over six years. I get to work with so many talented actors in Los Angeles. For me, once I have answered the questions of tone, look, and strengths needed for the concept, then it is just asking the right person. If you don't have a large budget for your specs and therefore you aren't able to budget good pay for your good actors, then in my opinion auditions go out the window. You are asking favors even if you are paying them some sort of small day rate. Thankfully, I've worked with or seen my actor’s work on other projects, so I feel more than confident when I cast from previous experience.

For GILT, I was looking for a dad that would have a handsome rugged look that set the tone and feel of a car spot, then we reveal the kids and I needed a solid performance from them. Finally, with the mom I needed that honest engagement with the phone and an actress to push it into an excitedly humorous place without giving to an ungrounded performance. Our actress, Gia Mora, delivered very well. The Mom role needed an actress who could give us good improvised moments to use in the editing room and that is definitely one of Gia's gifts.

How did you search for/lock a location?

This was the toughest part of the project. I started by trying to find a location with a lookout vista on private property, but never found it. Time was running out so I called the LA Mountain film office. They were SUPER helpful even though I spent three times what I budgeted for that location. But when the clock is running out, you have to make it happen. We were stuck with that shooting day in part because I was shooting another spec spot the same day, so there wasn't a lot of flexibility on moving the date.

How did you select your DP, crew?

I work with a few cinematographers. Topher and I met in undergrad @ the University of San Francisco. We both attended grad school (he for cinematography @ UCLA and myself for directing @ Chapman) and now enjoy working together in Los Angeles. He is great, he gets what I'm looking for and he has a great crew. In the sound department, I have a friend named Sean Oakley that I met at Chapman, and he does wonderful work. I had lots of friends from the business and personal life that helped with the rest, it really would never happen without them. 

How did shooting go? Any challenges?

It was a great day, couldn't have asked for anything better. We were shooting two specs and so we had to race with the sun a bit @ the end of the day, but that is pretty common when you are doing a Golden Hour shoot in one evening. I would caution letting the kids have too much sugar while you are still using them for a scene like ours, but other than that I was very happy.

Tell us about editing and finishing.

Editing was tougher on this project then on the other spec I shot the same day. There were so many options and small tonal choices that it took awhile to find the right balance. I like to get feedback from people pretty early on. So I cut two options for subtly different versions and started sending that to my “brain trust.” I was getting feedback that was 50/50, and I knew we were close to being finished. Some projects, you know pretty quickly when to lock picture, others take more time, this was one of the latter. In retrospect, I'm glad I did more cuts then I usually do. You want to feel confident that you have the best cut possible. Thankfully, you have that kind of time when you are creating a spec. Getting it right is what it is all about. As for color grading, I gave an early cut to my grader and he found the timing quickly, he does very solid work. Sound really helped bridge our gaps. I found the music pretty early on and it became very important to the editing of the piece. The music stepped up the drama of the piece in really impactful way.

In retrospect, is there anything you would have done differently?

It would have been helpful to lock our location earlier, but we just didn't have that luxury. If we could have had the location locked earlier, then I might have had a more solid board/plan with my cinematographer. Unfortunately, we didn’t have that, but that's the way it works when you have to get stuff done. You have to go with the date that works for most of the people's time conflicts, and do the best you can with all of your unsettled pieces of your puzzle. 

Any other thoughts.

I've written most of the specs/projects on my reel. It was great to work with a copywriter on this project. Having a creative team of two (instead of just me) from the beginning to the end of process is SOOO helpful. When you have to make decisions about the project there is another person who is also invested that you can call. This is also much  similar to the process of making advertising for a client. Realistically, there would be a copywriter whose vision the director must find and bring to life. I thrive on collaboration and I'm very thankful to have worked with someone who enjoys the collaboration as much as I do.

Tuesday, March 24, 2015

Nike "Dance"


Click here to watch. 

Credits (director, writer, DP, producer, etc.)

Director; DP; Producer: Jacob Migicovsky
Writer: Michael Richardson
Editor: Michael Freedman
Grader: Jonny Tully
Post Production Sound: Will Thomas; Dan Bodsworth
Production Assistant: Lucy Williams
Basketball Player: Josh Burdett

Why this script/concept? How does it reflect your vision as a commercial director?

Michael's script instantly struck a chord with me. As we all do, I was making my way through the hundreds of script on the site, and when I read 'Dance' it was clear I had to make this. I've never felt such drama and poetry in a commercial script, only ever in features, and even that's pretty rare. It was perfect, and I was already looking to direct a very visual piece, so I'm just lucky it was still available and very grateful that Michael trusted me with the script.

What was the casting process like?

I made sure we got a Nike basketball...that was about it.

How did you search for/lock a location?

The community centre around the corner gave me a two hour booking. It was cheap, and it was close.

How did you select your DP, crew?

I hadn't shot my own thing in a while, and I figured I'd get behind the camera since there weren't any actors to worry about. Although, both my assistants were actor friends of mine, so there's some irony for you.

How did shooting go? Any challenges?

Slo-mo was the bane of my existence for weeks, it was the one wild card in the shoot. I thought, I've got this great script, it takes place in a gym without any actors, a few lights, easy. But this footage had to be very slow or else it just wouldn't work. I soon realized that it wasn't so simple, going for extreme slo-mo meant renting a Phantom, amazing but hardly affordable on our budget. Then we thought we could shoot on a 5D and ramp it up with software, but we learned that close ups of netting and dust weren't gonna fly. I ended up doing everything in camera with a Sony FS700, after doing a crash course the night before with the rental house. We still needed software for two shots, but mostly we stuck to the 240fps we shot on.

The icing on the cake was that my buddy wasn't the best basketball player. I live in London after all. It was all looking great except we weren't getting any swooshes cause the ball was bouncing all over the place. But luckily the gym had a giant step ladder, so we put him up there and just dropped the balls in.

Tell us about editing and finishing.

Editing turned out to be very difficult. We wanted to do the script justice and find a way to present a poetic energy in the piece, but I'd never done anything this atmospheric before. We started with the music since it was already in the script, it worked, and the rights were available. We tried a few different approaches, but it really came together when we started thinking of the net as a ballerina. It was actually pretty similar when you compared the two: a lone figure on stage, one spotlight, moving to the music, kicking, jumping, and that brought us through to the final edit. I'd be lying if I said I didn't dance around in our office.

The dreamlike grade worked like a charm, and then we were done, the ad was sent to the writer and we hoped to start sharing it in the new year. Michael (the writer) loved it, and we could rest easy. Then about a week after Christmas, Michael came back with some new notes, the biggest was proposing an arena sound design under the music, which wasn't in the script. We weren't sure at first, but we applied a quick test to the edit and thought it was a good idea, it could probably fill it out well. We had to wait a few months to get some great sound designers on board, but it was well worth it and we're so thankful that Michael came up with that idea, now we all think it's even better for it.

In retrospect, is there anything you would have done differently?

Two hours was a bit tight for filming, would have been good to have another few hours to really take our time. Getting kicked out by a bunch of middle schoolers wasn't the best experience.

Any other thoughts.

I never would have found this script without Spec Bank, so thanks for being the best source around! Hope you guys enjoy Nike 'Dance.'