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Thank you @adage for giving this story such a platform.
When @terrylarue and I sat down to write this piece for @leicacamerausa, our aim was to shed light on CRPS, and inspire those struggling with any form of pain to find comfort and meaning in artistic endeavors. @leicacamerausa and @kirankarnani pushed us further — urging us to explore how limitations play a critical role in Terry’s artistic and technical process. We carried this spirit into the production itself, leaning into limits at every turn, and inviting some pain along the way. I hope that you’ll read this beautiful article written by Aleda Stam for Ad Age, and watch the film at the link in my bio.
Thank you @adage for giving this story such a platform.
When @terrylarue and I sat down to write this piece for @leicacamerausa, our aim was to shed light on CRPS, and inspire those struggling with any form of pain to find comfort and meaning in artistic endeavors. @leicacamerausa and @kirankarnani pushed us further — urging us to explore how limitations play a critical role in Terry’s artistic and technical process. We carried this spirit into the production itself, leaning into limits at every turn, and inviting some pain along the way. I hope that you’ll read this beautiful article written by Aleda Stam for Ad Age, and watch the film at the link in my bio.
Thank you @adage for giving this story such a platform.
When @terrylarue and I sat down to write this piece for @leicacamerausa, our aim was to shed light on CRPS, and inspire those struggling with any form of pain to find comfort and meaning in artistic endeavors. @leicacamerausa and @kirankarnani pushed us further — urging us to explore how limitations play a critical role in Terry’s artistic and technical process. We carried this spirit into the production itself, leaning into limits at every turn, and inviting some pain along the way. I hope that you’ll read this beautiful article written by Aleda Stam for Ad Age, and watch the film at the link in my bio.
Thank you @adage for giving this story such a platform.
When @terrylarue and I sat down to write this piece for @leicacamerausa, our aim was to shed light on CRPS, and inspire those struggling with any form of pain to find comfort and meaning in artistic endeavors. @leicacamerausa and @kirankarnani pushed us further — urging us to explore how limitations play a critical role in Terry’s artistic and technical process. We carried this spirit into the production itself, leaning into limits at every turn, and inviting some pain along the way. I hope that you’ll read this beautiful article written by Aleda Stam for Ad Age, and watch the film at the link in my bio.
Thank you @adage for giving this story such a platform.
When @terrylarue and I sat down to write this piece for @leicacamerausa, our aim was to shed light on CRPS, and inspire those struggling with any form of pain to find comfort and meaning in artistic endeavors. @leicacamerausa and @kirankarnani pushed us further — urging us to explore how limitations play a critical role in Terry’s artistic and technical process. We carried this spirit into the production itself, leaning into limits at every turn, and inviting some pain along the way. I hope that you’ll read this beautiful article written by Aleda Stam for Ad Age, and watch the film at the link in my bio.
Thank you @adage for giving this story such a platform.
When @terrylarue and I sat down to write this piece for @leicacamerausa, our aim was to shed light on CRPS, and inspire those struggling with any form of pain to find comfort and meaning in artistic endeavors. @leicacamerausa and @kirankarnani pushed us further — urging us to explore how limitations play a critical role in Terry’s artistic and technical process. We carried this spirit into the production itself, leaning into limits at every turn, and inviting some pain along the way. I hope that you’ll read this beautiful article written by Aleda Stam for Ad Age, and watch the film at the link in my bio.
Thank you @adage for giving this story such a platform.
When @terrylarue and I sat down to write this piece for @leicacamerausa, our aim was to shed light on CRPS, and inspire those struggling with any form of pain to find comfort and meaning in artistic endeavors. @leicacamerausa and @kirankarnani pushed us further — urging us to explore how limitations play a critical role in Terry’s artistic and technical process. We carried this spirit into the production itself, leaning into limits at every turn, and inviting some pain along the way. I hope that you’ll read this beautiful article written by Aleda Stam for Ad Age, and watch the film at the link in my bio.
Thank you @adage for giving this story such a platform.
When @terrylarue and I sat down to write this piece for @leicacamerausa, our aim was to shed light on CRPS, and inspire those struggling with any form of pain to find comfort and meaning in artistic endeavors. @leicacamerausa and @kirankarnani pushed us further — urging us to explore how limitations play a critical role in Terry’s artistic and technical process. We carried this spirit into the production itself, leaning into limits at every turn, and inviting some pain along the way. I hope that you’ll read this beautiful article written by Aleda Stam for Ad Age, and watch the film at the link in my bio.
We’re beyond excited to share that our film for @marchforourlives was shortlisted at this year’s @cannes_lions. The biggest of shoutouts to @rodgerstownsend and @thertcommish for inviting us to take part in this — an honor especially gratifying as @ddbworldwide takes network of the year.
Our shortlist is for Film Craft/Sound Design, which was masterfully executed by sound designer @brentj21 of @coolfirestudios.
Also very cool to share the stage with our friends at @bssoutpost, who shortlisted in the same category for their work on the film “The Rabbit Hole.” Let’s keep bringing it STL 🗣️
*Please see a couple of posts back for the :30 PSA and full list of credits.*
We’re beyond excited to share that our film for @marchforourlives was shortlisted at this year’s @cannes_lions. The biggest of shoutouts to @rodgerstownsend and @thertcommish for inviting us to take part in this — an honor especially gratifying as @ddbworldwide takes network of the year.
Our shortlist is for Film Craft/Sound Design, which was masterfully executed by sound designer @brentj21 of @coolfirestudios.
Also very cool to share the stage with our friends at @bssoutpost, who shortlisted in the same category for their work on the film “The Rabbit Hole.” Let’s keep bringing it STL 🗣️
*Please see a couple of posts back for the :30 PSA and full list of credits.*
We’re beyond excited to share that our film for @marchforourlives was shortlisted at this year’s @cannes_lions. The biggest of shoutouts to @rodgerstownsend and @thertcommish for inviting us to take part in this — an honor especially gratifying as @ddbworldwide takes network of the year.
Our shortlist is for Film Craft/Sound Design, which was masterfully executed by sound designer @brentj21 of @coolfirestudios.
Also very cool to share the stage with our friends at @bssoutpost, who shortlisted in the same category for their work on the film “The Rabbit Hole.” Let’s keep bringing it STL 🗣️
*Please see a couple of posts back for the :30 PSA and full list of credits.*
@marchforourlives “The Greatest Gift”
@thertcommish and @rodgerstownsend — thank you for inviting us to bring this powerful idea (and important message) to life.
Agency: @rodgerstownsend
CCO: @thertcommish
Art Director: @kdub_content
Production: @townsendhurst
Director: @nateltownsend
EP: @michaeljhurst
DP: @kylekrupinski
Post-production: @townsendhurst & @coolfirestudios
Sound Designer and Composer: @brentj21
@marchforourlives “The Greatest Gift”
@thertcommish and @rodgerstownsend — thank you for inviting us to bring this powerful idea (and important message) to life.
Agency: @rodgerstownsend
CCO: @thertcommish
Art Director: @kdub_content
Production: @townsendhurst
Director: @nateltownsend
EP: @michaeljhurst
DP: @kylekrupinski
Post-production: @townsendhurst & @coolfirestudios
Sound Designer and Composer: @brentj21
@marchforourlives “The Greatest Gift”
@thertcommish and @rodgerstownsend — thank you for inviting us to bring this powerful idea (and important message) to life.
Agency: @rodgerstownsend
CCO: @thertcommish
Art Director: @kdub_content
Production: @townsendhurst
Director: @nateltownsend
EP: @michaeljhurst
DP: @kylekrupinski
Post-production: @townsendhurst & @coolfirestudios
Sound Designer and Composer: @brentj21
@marchforourlives “The Greatest Gift”
@thertcommish and @rodgerstownsend — thank you for inviting us to bring this powerful idea (and important message) to life.
Agency: @rodgerstownsend
CCO: @thertcommish
Art Director: @kdub_content
Production: @townsendhurst
Director: @nateltownsend
EP: @michaeljhurst
DP: @kylekrupinski
Post-production: @townsendhurst & @coolfirestudios
Sound Designer and Composer: @brentj21
@marchforourlives “The Greatest Gift”
@thertcommish and @rodgerstownsend — thank you for inviting us to bring this powerful idea (and important message) to life.
Agency: @rodgerstownsend
CCO: @thertcommish
Art Director: @kdub_content
Production: @townsendhurst
Director: @nateltownsend
EP: @michaeljhurst
DP: @kylekrupinski
Post-production: @townsendhurst & @coolfirestudios
Sound Designer and Composer: @brentj21
@marchforourlives “The Greatest Gift”
@thertcommish and @rodgerstownsend — thank you for inviting us to bring this powerful idea (and important message) to life.
Agency: @rodgerstownsend
CCO: @thertcommish
Art Director: @kdub_content
Production: @townsendhurst
Director: @nateltownsend
EP: @michaeljhurst
DP: @kylekrupinski
Post-production: @townsendhurst & @coolfirestudios
Sound Designer and Composer: @brentj21
@kodak_shootfilm 250D + Cooke S4s.
Beautiful way to tell a story (coming soon)!
DP: @kylekrupinski
Cam/lenses: @lensworksrentals
Color: @mesgen.gebremeskel
prod: @townsendhurst
@kodak_shootfilm 250D + Cooke S4s.
Beautiful way to tell a story (coming soon)!
DP: @kylekrupinski
Cam/lenses: @lensworksrentals
Color: @mesgen.gebremeskel
prod: @townsendhurst
@kodak_shootfilm 250D + Cooke S4s.
Beautiful way to tell a story (coming soon)!
DP: @kylekrupinski
Cam/lenses: @lensworksrentals
Color: @mesgen.gebremeskel
prod: @townsendhurst
@kodak_shootfilm 250D + Cooke S4s.
Beautiful way to tell a story (coming soon)!
DP: @kylekrupinski
Cam/lenses: @lensworksrentals
Color: @mesgen.gebremeskel
prod: @townsendhurst
@kodak_shootfilm 250D + Cooke S4s.
Beautiful way to tell a story (coming soon)!
DP: @kylekrupinski
Cam/lenses: @lensworksrentals
Color: @mesgen.gebremeskel
prod: @townsendhurst
@kodak_shootfilm 250D + Cooke S4s.
Beautiful way to tell a story (coming soon)!
DP: @kylekrupinski
Cam/lenses: @lensworksrentals
Color: @mesgen.gebremeskel
prod: @townsendhurst
@kodak_shootfilm 250D + Cooke S4s.
Beautiful way to tell a story (coming soon)!
DP: @kylekrupinski
Cam/lenses: @lensworksrentals
Color: @mesgen.gebremeskel
prod: @townsendhurst
@kodak_shootfilm 250D + Cooke S4s.
Beautiful way to tell a story (coming soon)!
DP: @kylekrupinski
Cam/lenses: @lensworksrentals
Color: @mesgen.gebremeskel
prod: @townsendhurst
@kodak_shootfilm 250D + Cooke S4s.
Beautiful way to tell a story (coming soon)!
DP: @kylekrupinski
Cam/lenses: @lensworksrentals
Color: @mesgen.gebremeskel
prod: @townsendhurst
@kodak_shootfilm 250D + Cooke S4s.
Beautiful way to tell a story (coming soon)!
DP: @kylekrupinski
Cam/lenses: @lensworksrentals
Color: @mesgen.gebremeskel
prod: @townsendhurst
@kodak_shootfilm 250D + Cooke S4s.
Beautiful way to tell a story (coming soon)!
DP: @kylekrupinski
Cam/lenses: @lensworksrentals
Color: @mesgen.gebremeskel
prod: @townsendhurst
@kodak_shootfilm 250D + Cooke S4s.
Beautiful way to tell a story (coming soon)!
DP: @kylekrupinski
Cam/lenses: @lensworksrentals
Color: @mesgen.gebremeskel
prod: @townsendhurst
@kodak_shootfilm 250D + Cooke S4s.
Beautiful way to tell a story (coming soon)!
DP: @kylekrupinski
Cam/lenses: @lensworksrentals
Color: @mesgen.gebremeskel
prod: @townsendhurst
@nateltownsend connected with @lbbonline to discuss our recent spot for Early Edge California. If you haven’t seen the spot, check out our previous post.
@nateltownsend connected with @lbbonline to discuss our recent spot for Early Edge California. If you haven’t seen the spot, check out our previous post.
@nateltownsend connected with @lbbonline to discuss our recent spot for Early Edge California. If you haven’t seen the spot, check out our previous post.
@nateltownsend connected with @lbbonline to discuss our recent spot for Early Edge California. If you haven’t seen the spot, check out our previous post.
@nateltownsend connected with @lbbonline to discuss our recent spot for Early Edge California. If you haven’t seen the spot, check out our previous post.
@nateltownsend connected with @lbbonline to discuss our recent spot for Early Edge California. If you haven’t seen the spot, check out our previous post.
@nateltownsend connected with @lbbonline to discuss our recent spot for Early Edge California. If you haven’t seen the spot, check out our previous post.
@nateltownsend connected with @lbbonline to discuss our recent spot for Early Edge California. If you haven’t seen the spot, check out our previous post.
@nateltownsend connected with @lbbonline to discuss our recent spot for Early Edge California. If you haven’t seen the spot, check out our previous post.
@nateltownsend connected with @lbbonline to discuss our recent spot for Early Edge California. If you haven’t seen the spot, check out our previous post.
@nateltownsend connected with @lbbonline to discuss our recent spot for Early Edge California. If you haven’t seen the spot, check out our previous post.
@nateltownsend connected with @lbbonline to discuss our recent spot for Early Edge California. If you haven’t seen the spot, check out our previous post.
@nateltownsend connected with @lbbonline to discuss our recent spot for Early Edge California. If you haven’t seen the spot, check out our previous post.
Quality universal child care lifts every Californian. That’s the takeaway of this spot for Early Edge California — a leading advocate for universal B-3 — which we were honored to develop and produce. Thanks to all who went the extra mile bringing this to life. ❤️
@earlyedgeca “Mr. Turtle”
Executive Director: Patricia Lozano
Director Communications: Joanna Cole
COO: Stephanie Wayland
Agency: @upbrandcreates
GCD: @inscogram
CD/Art Director: @kdub_content
CD/Copywriter: @pinkieup
Production: @townsendhurst
Writer/Director: @nateltownsend
EP: @michaeljhurst
LP: @thatsdirectedbyjake
DP: @kylekrupinski
1st AC: Rudy Salas
Steadicam Operator: @hailey.enge
Camera PA: @simonmooredp
Gaffer: @etgomez88
BBE: Lincoln Webb
Key Grip: Sean Hunt, @drummerfilmguy
Dolly Grip/Best Boy: @eddiecros
Sound Operator: James Devore, Matt Taylor
HMU: @melina.farhadi
Wardrobe: @kingtroi
Art Department: @alana_townsend, Hannah Leskosky
Key PA: @lizabeth_pedraza
PAs: Drew Insco, Quinn Monagan, Issac Kliska
Casting: @orangestreetcasting @beckivelli
Mom: @brittonimacoroni
Child: Journee Briant
Caregiver: @mariamontenegro2525
BG: Issac Kliska, Quinn Monagan, Trish Morrison, @adambussell, Ina Loaiza, Aries Sierra, Nile
Camera/Lenses: @lensworksrentals
Post-Production: Townsend Hurst
Editor: Nate Townsend
Color House: @point.360
Colorist: @mesgen.gebremeskel
Sound Design: @coltonjackson_12
Original Score: @roberto_murguia_barrios
VFX/Title Design: @febusedgar
Special thanks: @randiatkins @matthewboydwilliams
Stills from a recent shoot in collaboration with @craftalliance.
Artists: Alisha Porter, Ronald Johnson
📸: @nateltownsend
Lighting tech: @turnthover
Grip/Assist:@bman_brooks
Retouching: @dannyhommes
Stills from a recent shoot in collaboration with @craftalliance.
Artists: Alisha Porter, Ronald Johnson
📸: @nateltownsend
Lighting tech: @turnthover
Grip/Assist:@bman_brooks
Retouching: @dannyhommes
Stills from a recent shoot in collaboration with @craftalliance.
Artists: Alisha Porter, Ronald Johnson
📸: @nateltownsend
Lighting tech: @turnthover
Grip/Assist:@bman_brooks
Retouching: @dannyhommes
Stills from a recent shoot in collaboration with @craftalliance.
Artists: Alisha Porter, Ronald Johnson
📸: @nateltownsend
Lighting tech: @turnthover
Grip/Assist:@bman_brooks
Retouching: @dannyhommes
Stills from a recent shoot in collaboration with @craftalliance.
Artists: Alisha Porter, Ronald Johnson
📸: @nateltownsend
Lighting tech: @turnthover
Grip/Assist:@bman_brooks
Retouching: @dannyhommes
Stills from a recent shoot in collaboration with @craftalliance.
Artists: Alisha Porter, Ronald Johnson
📸: @nateltownsend
Lighting tech: @turnthover
Grip/Assist:@bman_brooks
Retouching: @dannyhommes
Stills from a recent shoot in collaboration with @craftalliance.
Artists: Alisha Porter, Ronald Johnson
📸: @nateltownsend
Lighting tech: @turnthover
Grip/Assist:@bman_brooks
Retouching: @dannyhommes
Stills from a recent shoot in collaboration with @craftalliance.
Artists: Alisha Porter, Ronald Johnson
📸: @nateltownsend
Lighting tech: @turnthover
Grip/Assist:@bman_brooks
Retouching: @dannyhommes
A few of the shots from our library shoot for PACCAR, Peterbilt, Kenworth, and TRP. Photographed by @nateltownsend and @rajah.bose.
A few of the shots from our library shoot for PACCAR, Peterbilt, Kenworth, and TRP. Photographed by @nateltownsend and @rajah.bose.
A few of the shots from our library shoot for PACCAR, Peterbilt, Kenworth, and TRP. Photographed by @nateltownsend and @rajah.bose.
A few of the shots from our library shoot for PACCAR, Peterbilt, Kenworth, and TRP. Photographed by @nateltownsend and @rajah.bose.
A few of the shots from our library shoot for PACCAR, Peterbilt, Kenworth, and TRP. Photographed by @nateltownsend and @rajah.bose.
A few of the shots from our library shoot for PACCAR, Peterbilt, Kenworth, and TRP. Photographed by @nateltownsend and @rajah.bose.
A few of the shots from our library shoot for PACCAR, Peterbilt, Kenworth, and TRP. Photographed by @nateltownsend and @rajah.bose.
A few of the shots from our library shoot for PACCAR, Peterbilt, Kenworth, and TRP. Photographed by @nateltownsend and @rajah.bose.
A few of the shots from our library shoot for PACCAR, Peterbilt, Kenworth, and TRP. Photographed by @nateltownsend and @rajah.bose.
A few of the shots from our library shoot for PACCAR, Peterbilt, Kenworth, and TRP. Photographed by @nateltownsend and @rajah.bose.
A few of the shots from our library shoot for PACCAR, Peterbilt, Kenworth, and TRP. Photographed by @nateltownsend and @rajah.bose.
A few of the shots from our library shoot for PACCAR, Peterbilt, Kenworth, and TRP. Photographed by @nateltownsend and @rajah.bose.
A few of the shots from our library shoot for PACCAR, Peterbilt, Kenworth, and TRP. Photographed by @nateltownsend and @rajah.bose.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
Four days in Seattle, building a cinematic library of imagery for PACCAR — the parent company of Kenworth, Peterbilt, and TRP. We captured service bays, retail counters, staged truck exteriors, and studio product shots with a full cast and multiple units working in sync. While motion was captured on the ARRI Alexa, stills were driven entirely by the Leica SL3 with APO-Summicron primes, with generous support from @leicacamerausa. Our goal was to match the richness and grounded tone of our motion work — and the SL3 delivered beautifully. Clean, true, and full of soul, straight out of camera. Grateful to Leica for the support, and PACCAR, FCB, and NHS for backing the vision.
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