Fitbit "Step"

Click to watch.

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

Creative Director/Writer: Chris DeNinno (David and Goliath) 

Production Company: Toybox Films
toybox.net.au

Director: Glenn Cogan
DP: Aaron Haberfield
Producer: Greer Wilton
First AC: Harrison Welsh
Make up and Hair: Tira Jaye
Production and Costume Design: Greer Wilton
Online Editor: Andrew Sheldon
Colour Grade: Chris Grincott and David Mosqueda - White Chocolate
Sound Design: Glenn Cogan
3D animation: Glenn Cogan
Cast: Simone Smith - The Right Fit
Camera: RED Weapon
Edited in Adobe Premier
Grade: DaVinci Resolve
3D: Cinema 4D and Redshift Rendering Technology

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

For my first spec spot, I was looking for a brand or product I haven’t had the opportunity to work with before. This script was interesting to me in that it was a very simple scene that could easily have been done as a oner, and in fact, that was the writer's original thought, but I believed we could expand on that idea and take it further. Luckily Chris liked where I was coming from. It was important to create a spot that would look the best we could make it with our limited resources (ie tiny budget) and Chris’s script allowed us to do just that. 

What was the casting process like?

Casting was an interesting one both for on-camera talent and voice talent. We live and work in Australia and straight up when I read the script, it was obviously written for a North American audience. So I made the decision to follow through and create the spot for it's intended market. This meant we would have to cast our talent to look like someone who lived in North America. Luckily for us, talent agencies in Australia do have a diverse range of talent on their books and we partnered with a company called the right fit. who made it possible even on a very our small budget. All of our casting was done over Skype. For voice casting we again had fantastic results with Voicebunny.com. They are an absolute pleasure to work with and are an amazing asset for spec filmmakers. Our assistant Harrison kindly agreed to play and extra role in the spot as well.

How did you search for/lock a location?

In creating this spec tv spot we were always trying to get the biggest bang for the least money we could spend. I can say that it was Airbnb that made this location possible for us. We had a fantastic home to shoot in and really only had to enhance the set with some specific props to carry the story. 

How did you select your DP, crew?

My essential crew are my day to day work colleagues. DP Aaron Haberfield, Producer Greer Wilton and Production Assistant Harrison Welsh along with Makeup Artist Tira Jaye are my go-to team. We're all in this together and making spec work allows us to expand our creative muscles and give us the opportunity to show what we can do.

How did shooting go? Any challenges?

First up we started with a conversation with Creative Director and Writer of the spot Chris DeNinno over Skype. We talked generally about how I wanted to tackle the script. With every project, we run through the typical stages of pre preproduction with the team and we put together our pre-pro document with all facets of the production ie, Cast, Wardrobe, Props, Location etc. This was then run past Chris for his thoughts.

I am a huge fan of pre-visualization or previz. So upon deciding on the script, the very next thing I did was previz the spot. I roughed out the story, angles of each of the shots, decided on the mood… then iterate until I essentially have the spot where I want it - it becomes my blueprint to shoot to. It’s also my way of doing storyboards without hand drawing them. Working with Chris in LA, and my team in Australia, I was able to show him my clearly articulated vision as Director. The shoot went very smoothly and we finished on time with everything we needed and more.

Previz for Fitbit: https://vimeo.com/256900347

Tell us about editing and finishing.

The spot was shot in the Red Weapon's native 8K format, though we chose to finish in 4K as this spot is a spec project and will live on online. We cut in Adobe Premiere and I actually made a few creative decisions moving slightly away from the animatic and using fewer shots in the spot.

Our awesome friends Chris and David at White Chocolate (post house in Sydney) kindly did the color grading for us gratis. We completed the sound design and 3D animation in-house at Toybox Films.

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

We were extremely happy with the final product, it turned out exactly how we planned, even better possibly.

More importantly, though our key stakeholder Chris DeNinno was very happy with the results as well, and that was the ultimate goal kicked. 

Any other thoughts.

It was a lot of fun to create an international spot here in Australia that looks like it would be right at home in the US. It would be amazing to get a call from an agency in LA to come make a spot over there. I think Spec bank is a fantastic resource for new and upcoming directors and there really is nothing else like it out there. 

Thank you for an amazing opportunity to be able to work with other creative professionals on the other side of the world and help realize their visions as well.

Southwest Airlines "Garage"

Click here to watch. 

Credits: 

Producer: Michael Leary

Director: Michael Leary

DP: Robert Mickles

Writer: Dan Sorgen

Editor/Colorist: Michael Leary

Assistant Director: Dwayne Taylor

Gaffer: Matt Morrison

Set PA: Jackie Nelms

Set PA: Sam Lipinski

Sound: Dave Willis Lorenz

Sound Designer/Sound Mixer: Dave DeLizza

Hair/Make Up: Sara Griswold

Cast: Josh Powell

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

This script reflects my comedic style which I consider over-the top and inspired by the classic Looney Tunes cartoons. As soon as I read it I wanted to shoot it. It also happens to be the second spot I directed written by Dan Sorgen. Our styles seem to mesh pretty well. 

What was the casting process like?

I worked with Josh Powell on a regional spot I directed a couple of years ago and when I read Dan's script, he was my first choice. He has the acting chops and the look for the part. I wanted someone who has a somewhat vulnerable, every day suburban look. 

How did you search for/lock a location?

I have close friends that I knew had a nice size, modern garage. They were kind enough to let us use it and they had a blast watching us shoot. I am always a big fan of single location commercial shoots. It gives you much more time to get what you want out of the day.

How did you select your DP, crew?

The DP Robert Mickles is someone I have worked with on many projects. We have developed a good working relationship over the years and he is the type of guy that just loves to work. He and the rest of the crew have been very generous with the time they have devoted to this shoot and others I have shot for my reel. Most of them have been working with me for some time and are always very professional and fun on set. Let me say that I have many favors to repay! :)

How did shooting go? Any challenges?

The shoot went very smoothly. A few weeks before the shoot I tested the ability to jump and land in the wagon so that it looked realistic as it rolled towards the saw. After many tests we were able to get it down so that on the shoot day it was ready to go. Safety was an obvious concern and with shooting the correct angle and with the right lens, we were able to get the illusion the actor was closer to the saw than he really was. 

Tell us about editing and finishing.

Editing the commercial went very smoothly. I cut and colored the spot, and my good friend and colleague Dave DeLizza did the post sound design and mixing. Building the suspense with the music and sound design was very important to make the spot work, and Dan Sorgen collaborated and gave great recommendations in this process. Dave DeLizza did a great job in bringing his ear to the project and polishing it off.

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

For this spot, there is not much if anything I would of done differently. I learned a lot and will surely carry that over to the next spot whether it be for a client or on spec.

Any other thoughts.

Thank you Dan for writing a funny spot that was very fun to shoot, and thank you to the cast and crew. I'm looking forward to the next one!