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@maluma @skyrompiendo @krisrofficial - QHP PIÑATA

“For QHP PIÑATA, the starting point was the sensation of waking up the day after a completely unhinged party and saying “what the fuck was that night.” Our goal was to step away from the usual visual codes tied to Latin urban nightlife: the club, the LED screens, the polished reggaeton fantasy, and instead shift the energy into something more unexpected.

One of the key references was THE BLAZE - MADLY, which I’ve always admired for its use of slow motion and its ability to turn very simple, urban moments into something deeply nostalgic and almost spiritual. That balance between intimacy and scale became a key inspiration for how we wanted this world to feel.

A big part of the process was intentionally breaking expectations on set. Most of the party sequences were actually shot with hard techno playing instead of reggaeton, and there was something about pushing performers that translated incredibly well once slowed down against the Maluma track. We even ran tests beforehand, filming people dancing at around 150 BPM and then reviewing it in slow motion over the song. It created this hypnotic, floating quality that felt way more aligned with the emotional residue of a party rather than the party itself.

Visually, we built a grungy, imperfect rave world with Cameron by adding heavy grain, chromatic aberrations, blown highlights, and textures that added to the visual language. For me, the two things that define the video are the color and the casting, and both came together in a way that gave the world its emotional temperature and physical truth.” - Director, ILMATO

-

Directed by: @ilmato_
Director of Photography: @camilogutier
Production House: @drktstudios @gut_films
AD: @annaisabelduque
EP: @thekenrod
General Producer: @mikegutiert

Colorist: @cameronmarygold
Color Producer: @braydesk

Edit: @_raigarcia
Graphics: @lucasxcrespo
Vfx: @willvisualfx

@maluma @skyrompiendo @krisrofficial - QHP PIÑATA

“For QHP PIÑATA, the starting point was the sensation of waking up the day after a completely unhinged party and saying “what the fuck was that night.” Our goal was to step away from the usual visual codes tied to Latin urban nightlife: the club, the LED screens, the polished reggaeton fantasy, and instead shift the energy into something more unexpected.

One of the key references was THE BLAZE - MADLY, which I’ve always admired for its use of slow motion and its ability to turn very simple, urban moments into something deeply nostalgic and almost spiritual. That balance between intimacy and scale became a key inspiration for how we wanted this world to feel.

A big part of the process was intentionally breaking expectations on set. Most of the party sequences were actually shot with hard techno playing instead of reggaeton, and there was something about pushing performers that translated incredibly well once slowed down against the Maluma track. We even ran tests beforehand, filming people dancing at around 150 BPM and then reviewing it in slow motion over the song. It created this hypnotic, floating quality that felt way more aligned with the emotional residue of a party rather than the party itself.

Visually, we built a grungy, imperfect rave world with Cameron by adding heavy grain, chromatic aberrations, blown highlights, and textures that added to the visual language. For me, the two things that define the video are the color and the casting, and both came together in a way that gave the world its emotional temperature and physical truth.” - Director, ILMATO

-

Directed by: @ilmato_
Director of Photography: @camilogutier
Production House: @drktstudios @gut_films
AD: @annaisabelduque
EP: @thekenrod
General Producer: @mikegutiert

Colorist: @cameronmarygold
Color Producer: @braydesk

Edit: @_raigarcia
Graphics: @lucasxcrespo
Vfx: @willvisualfx

@maluma @skyrompiendo @krisrofficial - QHP PIÑATA

“For QHP PIÑATA, the starting point was the sensation of waking up the day after a completely unhinged party and saying “what the fuck was that night.” Our goal was to step away from the usual visual codes tied to Latin urban nightlife: the club, the LED screens, the polished reggaeton fantasy, and instead shift the energy into something more unexpected.

One of the key references was THE BLAZE - MADLY, which I’ve always admired for its use of slow motion and its ability to turn very simple, urban moments into something deeply nostalgic and almost spiritual. That balance between intimacy and scale became a key inspiration for how we wanted this world to feel.

A big part of the process was intentionally breaking expectations on set. Most of the party sequences were actually shot with hard techno playing instead of reggaeton, and there was something about pushing performers that translated incredibly well once slowed down against the Maluma track. We even ran tests beforehand, filming people dancing at around 150 BPM and then reviewing it in slow motion over the song. It created this hypnotic, floating quality that felt way more aligned with the emotional residue of a party rather than the party itself.

Visually, we built a grungy, imperfect rave world with Cameron by adding heavy grain, chromatic aberrations, blown highlights, and textures that added to the visual language. For me, the two things that define the video are the color and the casting, and both came together in a way that gave the world its emotional temperature and physical truth.” - Director, ILMATO

-

Directed by: @ilmato_
Director of Photography: @camilogutier
Production House: @drktstudios @gut_films
AD: @annaisabelduque
EP: @thekenrod
General Producer: @mikegutiert

Colorist: @cameronmarygold
Color Producer: @braydesk

Edit: @_raigarcia
Graphics: @lucasxcrespo
Vfx: @willvisualfx

@maluma @skyrompiendo @krisrofficial - QHP PIÑATA

“For QHP PIÑATA, the starting point was the sensation of waking up the day after a completely unhinged party and saying “what the fuck was that night.” Our goal was to step away from the usual visual codes tied to Latin urban nightlife: the club, the LED screens, the polished reggaeton fantasy, and instead shift the energy into something more unexpected.

One of the key references was THE BLAZE - MADLY, which I’ve always admired for its use of slow motion and its ability to turn very simple, urban moments into something deeply nostalgic and almost spiritual. That balance between intimacy and scale became a key inspiration for how we wanted this world to feel.

A big part of the process was intentionally breaking expectations on set. Most of the party sequences were actually shot with hard techno playing instead of reggaeton, and there was something about pushing performers that translated incredibly well once slowed down against the Maluma track. We even ran tests beforehand, filming people dancing at around 150 BPM and then reviewing it in slow motion over the song. It created this hypnotic, floating quality that felt way more aligned with the emotional residue of a party rather than the party itself.

Visually, we built a grungy, imperfect rave world with Cameron by adding heavy grain, chromatic aberrations, blown highlights, and textures that added to the visual language. For me, the two things that define the video are the color and the casting, and both came together in a way that gave the world its emotional temperature and physical truth.” - Director, ILMATO

-

Directed by: @ilmato_
Director of Photography: @camilogutier
Production House: @drktstudios @gut_films
AD: @annaisabelduque
EP: @thekenrod
General Producer: @mikegutiert

Colorist: @cameronmarygold
Color Producer: @braydesk

Edit: @_raigarcia
Graphics: @lucasxcrespo
Vfx: @willvisualfx

@maluma @skyrompiendo @krisrofficial - QHP PIÑATA

“For QHP PIÑATA, the starting point was the sensation of waking up the day after a completely unhinged party and saying “what the fuck was that night.” Our goal was to step away from the usual visual codes tied to Latin urban nightlife: the club, the LED screens, the polished reggaeton fantasy, and instead shift the energy into something more unexpected.

One of the key references was THE BLAZE - MADLY, which I’ve always admired for its use of slow motion and its ability to turn very simple, urban moments into something deeply nostalgic and almost spiritual. That balance between intimacy and scale became a key inspiration for how we wanted this world to feel.

A big part of the process was intentionally breaking expectations on set. Most of the party sequences were actually shot with hard techno playing instead of reggaeton, and there was something about pushing performers that translated incredibly well once slowed down against the Maluma track. We even ran tests beforehand, filming people dancing at around 150 BPM and then reviewing it in slow motion over the song. It created this hypnotic, floating quality that felt way more aligned with the emotional residue of a party rather than the party itself.

Visually, we built a grungy, imperfect rave world with Cameron by adding heavy grain, chromatic aberrations, blown highlights, and textures that added to the visual language. For me, the two things that define the video are the color and the casting, and both came together in a way that gave the world its emotional temperature and physical truth.” - Director, ILMATO

-

Directed by: @ilmato_
Director of Photography: @camilogutier
Production House: @drktstudios @gut_films
AD: @annaisabelduque
EP: @thekenrod
General Producer: @mikegutiert

Colorist: @cameronmarygold
Color Producer: @braydesk

Edit: @_raigarcia
Graphics: @lucasxcrespo
Vfx: @willvisualfx

@maluma @skyrompiendo @krisrofficial - QHP PIÑATA

“For QHP PIÑATA, the starting point was the sensation of waking up the day after a completely unhinged party and saying “what the fuck was that night.” Our goal was to step away from the usual visual codes tied to Latin urban nightlife: the club, the LED screens, the polished reggaeton fantasy, and instead shift the energy into something more unexpected.

One of the key references was THE BLAZE - MADLY, which I’ve always admired for its use of slow motion and its ability to turn very simple, urban moments into something deeply nostalgic and almost spiritual. That balance between intimacy and scale became a key inspiration for how we wanted this world to feel.

A big part of the process was intentionally breaking expectations on set. Most of the party sequences were actually shot with hard techno playing instead of reggaeton, and there was something about pushing performers that translated incredibly well once slowed down against the Maluma track. We even ran tests beforehand, filming people dancing at around 150 BPM and then reviewing it in slow motion over the song. It created this hypnotic, floating quality that felt way more aligned with the emotional residue of a party rather than the party itself.

Visually, we built a grungy, imperfect rave world with Cameron by adding heavy grain, chromatic aberrations, blown highlights, and textures that added to the visual language. For me, the two things that define the video are the color and the casting, and both came together in a way that gave the world its emotional temperature and physical truth.” - Director, ILMATO

-

Directed by: @ilmato_
Director of Photography: @camilogutier
Production House: @drktstudios @gut_films
AD: @annaisabelduque
EP: @thekenrod
General Producer: @mikegutiert

Colorist: @cameronmarygold
Color Producer: @braydesk

Edit: @_raigarcia
Graphics: @lucasxcrespo
Vfx: @willvisualfx

Family 001: 🖤

Family 001: 🖤

Family 001: 🖤

Family 001: 🖤

Family 001: 🖤

Family 001: 🖤

@turnstileluvconnection - SUNSHOWER

“We wanted SUNSHOWER to feel somewhat aligned with the visual language established in T.L.C. (from TURNSTILE LOVE CONNECTION.) That same sense of snappy, reactive camera operating and energetic, graphic compositions, but in some way pushed forward or expanded on.

We scaled up into a much larger studio space and committed to a massive cyc painted with our hero shade of blue (same as the NEVER ENOUGH waves imagery and album artwork.) We also introduced a couple thousand gallons of rain falling on the band. The video then flips back into the earlier established green field and striped stage with the crowd and @mjultrae

A big goal for SUNSHOWER was to create meaningful contrast between the two worlds. We wanted a clear distinction between the kinetic, almost impulsive camera language of the band performance and the controlled, observational perspective used to capture @mjultrae choreography. That contrast came from deliberate restraint - decisions on when to and not to move the camera, where to cut, how long to hold moments, and how color and lighting separates and connects those spaces. Finally, a crossfade was used to hand the audience off from one world to the other.

Personally, SUNSHOWER ended up being one of my favorite sequences in the film. It moves through a lot of tones and feelings, quite rapidly. It’s one of the rare times where what we envisioned in pre-pro is nearly exactly what ended up on screen.” - Director of Photography, Ian Hurdle

-

Directed by: @bsmooov & @patwk
Creative Director: @ianhurdle
Production Company: @vizionary_co
Producer: @evanmcgillivray 
Director of Photography: @ianhurdle
Production Manager: @amigopictures

Colorist: @cameronmarygold
Color Producer: @braydesk

Post House: @slipsstudios
Post Creative Director: @anthonymiralles
Post Producer: @shopeisdope
Editor: @anthonymiralles
Editor: @logan.k.triplett
VFX: Copenhagen Visual
VFX: @logan.k.triplett

Management: @vitalo88
Commissioner: @santafeyyy

@turnstileluvconnection - SUNSHOWER

“We wanted SUNSHOWER to feel somewhat aligned with the visual language established in T.L.C. (from TURNSTILE LOVE CONNECTION.) That same sense of snappy, reactive camera operating and energetic, graphic compositions, but in some way pushed forward or expanded on.

We scaled up into a much larger studio space and committed to a massive cyc painted with our hero shade of blue (same as the NEVER ENOUGH waves imagery and album artwork.) We also introduced a couple thousand gallons of rain falling on the band. The video then flips back into the earlier established green field and striped stage with the crowd and @mjultrae

A big goal for SUNSHOWER was to create meaningful contrast between the two worlds. We wanted a clear distinction between the kinetic, almost impulsive camera language of the band performance and the controlled, observational perspective used to capture @mjultrae choreography. That contrast came from deliberate restraint - decisions on when to and not to move the camera, where to cut, how long to hold moments, and how color and lighting separates and connects those spaces. Finally, a crossfade was used to hand the audience off from one world to the other.

Personally, SUNSHOWER ended up being one of my favorite sequences in the film. It moves through a lot of tones and feelings, quite rapidly. It’s one of the rare times where what we envisioned in pre-pro is nearly exactly what ended up on screen.” - Director of Photography, Ian Hurdle

-

Directed by: @bsmooov & @patwk
Creative Director: @ianhurdle
Production Company: @vizionary_co
Producer: @evanmcgillivray 
Director of Photography: @ianhurdle
Production Manager: @amigopictures

Colorist: @cameronmarygold
Color Producer: @braydesk

Post House: @slipsstudios
Post Creative Director: @anthonymiralles
Post Producer: @shopeisdope
Editor: @anthonymiralles
Editor: @logan.k.triplett
VFX: Copenhagen Visual
VFX: @logan.k.triplett

Management: @vitalo88
Commissioner: @santafeyyy

@turnstileluvconnection - SUNSHOWER

“We wanted SUNSHOWER to feel somewhat aligned with the visual language established in T.L.C. (from TURNSTILE LOVE CONNECTION.) That same sense of snappy, reactive camera operating and energetic, graphic compositions, but in some way pushed forward or expanded on.

We scaled up into a much larger studio space and committed to a massive cyc painted with our hero shade of blue (same as the NEVER ENOUGH waves imagery and album artwork.) We also introduced a couple thousand gallons of rain falling on the band. The video then flips back into the earlier established green field and striped stage with the crowd and @mjultrae

A big goal for SUNSHOWER was to create meaningful contrast between the two worlds. We wanted a clear distinction between the kinetic, almost impulsive camera language of the band performance and the controlled, observational perspective used to capture @mjultrae choreography. That contrast came from deliberate restraint - decisions on when to and not to move the camera, where to cut, how long to hold moments, and how color and lighting separates and connects those spaces. Finally, a crossfade was used to hand the audience off from one world to the other.

Personally, SUNSHOWER ended up being one of my favorite sequences in the film. It moves through a lot of tones and feelings, quite rapidly. It’s one of the rare times where what we envisioned in pre-pro is nearly exactly what ended up on screen.” - Director of Photography, Ian Hurdle

-

Directed by: @bsmooov & @patwk
Creative Director: @ianhurdle
Production Company: @vizionary_co
Producer: @evanmcgillivray 
Director of Photography: @ianhurdle
Production Manager: @amigopictures

Colorist: @cameronmarygold
Color Producer: @braydesk

Post House: @slipsstudios
Post Creative Director: @anthonymiralles
Post Producer: @shopeisdope
Editor: @anthonymiralles
Editor: @logan.k.triplett
VFX: Copenhagen Visual
VFX: @logan.k.triplett

Management: @vitalo88
Commissioner: @santafeyyy

@turnstileluvconnection - SUNSHOWER

“We wanted SUNSHOWER to feel somewhat aligned with the visual language established in T.L.C. (from TURNSTILE LOVE CONNECTION.) That same sense of snappy, reactive camera operating and energetic, graphic compositions, but in some way pushed forward or expanded on.

We scaled up into a much larger studio space and committed to a massive cyc painted with our hero shade of blue (same as the NEVER ENOUGH waves imagery and album artwork.) We also introduced a couple thousand gallons of rain falling on the band. The video then flips back into the earlier established green field and striped stage with the crowd and @mjultrae

A big goal for SUNSHOWER was to create meaningful contrast between the two worlds. We wanted a clear distinction between the kinetic, almost impulsive camera language of the band performance and the controlled, observational perspective used to capture @mjultrae choreography. That contrast came from deliberate restraint - decisions on when to and not to move the camera, where to cut, how long to hold moments, and how color and lighting separates and connects those spaces. Finally, a crossfade was used to hand the audience off from one world to the other.

Personally, SUNSHOWER ended up being one of my favorite sequences in the film. It moves through a lot of tones and feelings, quite rapidly. It’s one of the rare times where what we envisioned in pre-pro is nearly exactly what ended up on screen.” - Director of Photography, Ian Hurdle

-

Directed by: @bsmooov & @patwk
Creative Director: @ianhurdle
Production Company: @vizionary_co
Producer: @evanmcgillivray 
Director of Photography: @ianhurdle
Production Manager: @amigopictures

Colorist: @cameronmarygold
Color Producer: @braydesk

Post House: @slipsstudios
Post Creative Director: @anthonymiralles
Post Producer: @shopeisdope
Editor: @anthonymiralles
Editor: @logan.k.triplett
VFX: Copenhagen Visual
VFX: @logan.k.triplett

Management: @vitalo88
Commissioner: @santafeyyy

@turnstileluvconnection - SUNSHOWER

“We wanted SUNSHOWER to feel somewhat aligned with the visual language established in T.L.C. (from TURNSTILE LOVE CONNECTION.) That same sense of snappy, reactive camera operating and energetic, graphic compositions, but in some way pushed forward or expanded on.

We scaled up into a much larger studio space and committed to a massive cyc painted with our hero shade of blue (same as the NEVER ENOUGH waves imagery and album artwork.) We also introduced a couple thousand gallons of rain falling on the band. The video then flips back into the earlier established green field and striped stage with the crowd and @mjultrae

A big goal for SUNSHOWER was to create meaningful contrast between the two worlds. We wanted a clear distinction between the kinetic, almost impulsive camera language of the band performance and the controlled, observational perspective used to capture @mjultrae choreography. That contrast came from deliberate restraint - decisions on when to and not to move the camera, where to cut, how long to hold moments, and how color and lighting separates and connects those spaces. Finally, a crossfade was used to hand the audience off from one world to the other.

Personally, SUNSHOWER ended up being one of my favorite sequences in the film. It moves through a lot of tones and feelings, quite rapidly. It’s one of the rare times where what we envisioned in pre-pro is nearly exactly what ended up on screen.” - Director of Photography, Ian Hurdle

-

Directed by: @bsmooov & @patwk
Creative Director: @ianhurdle
Production Company: @vizionary_co
Producer: @evanmcgillivray 
Director of Photography: @ianhurdle
Production Manager: @amigopictures

Colorist: @cameronmarygold
Color Producer: @braydesk

Post House: @slipsstudios
Post Creative Director: @anthonymiralles
Post Producer: @shopeisdope
Editor: @anthonymiralles
Editor: @logan.k.triplett
VFX: Copenhagen Visual
VFX: @logan.k.triplett

Management: @vitalo88
Commissioner: @santafeyyy

@lululemon - “Yet”

“Some projects present their necessary building blocks for success more than others. ‘Yet’ had been a particular concentration of art direction resources, our deliberate blocking and quiet camera language lended us to asking more out of production design, lighting and the correct tonal editorial assembly to realize the subliminal sense of the body that asks for a certain degree of restraint.

Jenna and I went into this knowing we wanted to make it feel unconventional and hand crafted. In post, we left in imperfect moments like the leaf during like the theatrical set pull away gag, we could’ve easily made it perfect and punched in but we thought it was a bit of a fun show that this special effect wasn’t a mix of overlays or VFX in post. This also went into our graphic text treatment which was all shot practically as print outs and used as kinetic assets in post to configure.” - Director, Parker Schmidt

Director - @parker.schmidt
Director of Photography - @jenna_huskisson

Colorist – @cameronmarygold @fairchild.color
Color Producer - @braydesk

Producer - @kmaravala
Production Manager - @laura.mittelberg
Production Coordinator - @lindanhem

Edit House - @trimediting
Editor - @lucas_raimondo
Executive Post Producer - @mmiller908

@lululemon - “Yet”

“Some projects present their necessary building blocks for success more than others. ‘Yet’ had been a particular concentration of art direction resources, our deliberate blocking and quiet camera language lended us to asking more out of production design, lighting and the correct tonal editorial assembly to realize the subliminal sense of the body that asks for a certain degree of restraint.

Jenna and I went into this knowing we wanted to make it feel unconventional and hand crafted. In post, we left in imperfect moments like the leaf during like the theatrical set pull away gag, we could’ve easily made it perfect and punched in but we thought it was a bit of a fun show that this special effect wasn’t a mix of overlays or VFX in post. This also went into our graphic text treatment which was all shot practically as print outs and used as kinetic assets in post to configure.” - Director, Parker Schmidt

Director - @parker.schmidt
Director of Photography - @jenna_huskisson

Colorist – @cameronmarygold @fairchild.color
Color Producer - @braydesk

Producer - @kmaravala
Production Manager - @laura.mittelberg
Production Coordinator - @lindanhem

Edit House - @trimediting
Editor - @lucas_raimondo
Executive Post Producer - @mmiller908

@lululemon - “Yet”

“Some projects present their necessary building blocks for success more than others. ‘Yet’ had been a particular concentration of art direction resources, our deliberate blocking and quiet camera language lended us to asking more out of production design, lighting and the correct tonal editorial assembly to realize the subliminal sense of the body that asks for a certain degree of restraint.

Jenna and I went into this knowing we wanted to make it feel unconventional and hand crafted. In post, we left in imperfect moments like the leaf during like the theatrical set pull away gag, we could’ve easily made it perfect and punched in but we thought it was a bit of a fun show that this special effect wasn’t a mix of overlays or VFX in post. This also went into our graphic text treatment which was all shot practically as print outs and used as kinetic assets in post to configure.” - Director, Parker Schmidt

Director - @parker.schmidt
Director of Photography - @jenna_huskisson

Colorist – @cameronmarygold @fairchild.color
Color Producer - @braydesk

Producer - @kmaravala
Production Manager - @laura.mittelberg
Production Coordinator - @lindanhem

Edit House - @trimediting
Editor - @lucas_raimondo
Executive Post Producer - @mmiller908

@lululemon - “Yet”

“Some projects present their necessary building blocks for success more than others. ‘Yet’ had been a particular concentration of art direction resources, our deliberate blocking and quiet camera language lended us to asking more out of production design, lighting and the correct tonal editorial assembly to realize the subliminal sense of the body that asks for a certain degree of restraint.

Jenna and I went into this knowing we wanted to make it feel unconventional and hand crafted. In post, we left in imperfect moments like the leaf during like the theatrical set pull away gag, we could’ve easily made it perfect and punched in but we thought it was a bit of a fun show that this special effect wasn’t a mix of overlays or VFX in post. This also went into our graphic text treatment which was all shot practically as print outs and used as kinetic assets in post to configure.” - Director, Parker Schmidt

Director - @parker.schmidt
Director of Photography - @jenna_huskisson

Colorist – @cameronmarygold @fairchild.color
Color Producer - @braydesk

Producer - @kmaravala
Production Manager - @laura.mittelberg
Production Coordinator - @lindanhem

Edit House - @trimediting
Editor - @lucas_raimondo
Executive Post Producer - @mmiller908

@lululemon - “Yet”

“Some projects present their necessary building blocks for success more than others. ‘Yet’ had been a particular concentration of art direction resources, our deliberate blocking and quiet camera language lended us to asking more out of production design, lighting and the correct tonal editorial assembly to realize the subliminal sense of the body that asks for a certain degree of restraint.

Jenna and I went into this knowing we wanted to make it feel unconventional and hand crafted. In post, we left in imperfect moments like the leaf during like the theatrical set pull away gag, we could’ve easily made it perfect and punched in but we thought it was a bit of a fun show that this special effect wasn’t a mix of overlays or VFX in post. This also went into our graphic text treatment which was all shot practically as print outs and used as kinetic assets in post to configure.” - Director, Parker Schmidt

Director - @parker.schmidt
Director of Photography - @jenna_huskisson

Colorist – @cameronmarygold @fairchild.color
Color Producer - @braydesk

Producer - @kmaravala
Production Manager - @laura.mittelberg
Production Coordinator - @lindanhem

Edit House - @trimediting
Editor - @lucas_raimondo
Executive Post Producer - @mmiller908

@lululemon - “Yet”

“Some projects present their necessary building blocks for success more than others. ‘Yet’ had been a particular concentration of art direction resources, our deliberate blocking and quiet camera language lended us to asking more out of production design, lighting and the correct tonal editorial assembly to realize the subliminal sense of the body that asks for a certain degree of restraint.

Jenna and I went into this knowing we wanted to make it feel unconventional and hand crafted. In post, we left in imperfect moments like the leaf during like the theatrical set pull away gag, we could’ve easily made it perfect and punched in but we thought it was a bit of a fun show that this special effect wasn’t a mix of overlays or VFX in post. This also went into our graphic text treatment which was all shot practically as print outs and used as kinetic assets in post to configure.” - Director, Parker Schmidt

Director - @parker.schmidt
Director of Photography - @jenna_huskisson

Colorist – @cameronmarygold @fairchild.color
Color Producer - @braydesk

Producer - @kmaravala
Production Manager - @laura.mittelberg
Production Coordinator - @lindanhem

Edit House - @trimediting
Editor - @lucas_raimondo
Executive Post Producer - @mmiller908

@lululemon - “Yet”

“Some projects present their necessary building blocks for success more than others. ‘Yet’ had been a particular concentration of art direction resources, our deliberate blocking and quiet camera language lended us to asking more out of production design, lighting and the correct tonal editorial assembly to realize the subliminal sense of the body that asks for a certain degree of restraint.

Jenna and I went into this knowing we wanted to make it feel unconventional and hand crafted. In post, we left in imperfect moments like the leaf during like the theatrical set pull away gag, we could’ve easily made it perfect and punched in but we thought it was a bit of a fun show that this special effect wasn’t a mix of overlays or VFX in post. This also went into our graphic text treatment which was all shot practically as print outs and used as kinetic assets in post to configure.” - Director, Parker Schmidt

Director - @parker.schmidt
Director of Photography - @jenna_huskisson

Colorist – @cameronmarygold @fairchild.color
Color Producer - @braydesk

Producer - @kmaravala
Production Manager - @laura.mittelberg
Production Coordinator - @lindanhem

Edit House - @trimediting
Editor - @lucas_raimondo
Executive Post Producer - @mmiller908

@nomaintenance - You Don’t Have To Pick A Side

“This film is about raw, intense moments and tactile reality, the strain of a tug-of-war in a dirt lot, the weight and rhythm of the drums, and the grit of the environment. The look is slightly desaturated, giving it a grunge, grounded feel that amplifies the seriousness and texture of the scenes. Color serves to underscore the emotion and atmosphere, letting the tension, focus, and physicality of each moment come through naturally.” - Director, Brandon Chen

Director – @brandonjchen

Creative Director – @roeseph
Production Company – @bodeyco
Producer – @annayung__
DP – @fio.tv
Editor – @zoemountain
Sound Design – @chengsso

Colorist – @cameronmarygold @fairchild.color
Color Producer - @braydesk

@nomaintenance - You Don’t Have To Pick A Side

“This film is about raw, intense moments and tactile reality, the strain of a tug-of-war in a dirt lot, the weight and rhythm of the drums, and the grit of the environment. The look is slightly desaturated, giving it a grunge, grounded feel that amplifies the seriousness and texture of the scenes. Color serves to underscore the emotion and atmosphere, letting the tension, focus, and physicality of each moment come through naturally.” - Director, Brandon Chen

Director – @brandonjchen

Creative Director – @roeseph
Production Company – @bodeyco
Producer – @annayung__
DP – @fio.tv
Editor – @zoemountain
Sound Design – @chengsso

Colorist – @cameronmarygold @fairchild.color
Color Producer - @braydesk

@nomaintenance - You Don’t Have To Pick A Side

“This film is about raw, intense moments and tactile reality, the strain of a tug-of-war in a dirt lot, the weight and rhythm of the drums, and the grit of the environment. The look is slightly desaturated, giving it a grunge, grounded feel that amplifies the seriousness and texture of the scenes. Color serves to underscore the emotion and atmosphere, letting the tension, focus, and physicality of each moment come through naturally.” - Director, Brandon Chen

Director – @brandonjchen

Creative Director – @roeseph
Production Company – @bodeyco
Producer – @annayung__
DP – @fio.tv
Editor – @zoemountain
Sound Design – @chengsso

Colorist – @cameronmarygold @fairchild.color
Color Producer - @braydesk

@nomaintenance - You Don’t Have To Pick A Side

“This film is about raw, intense moments and tactile reality, the strain of a tug-of-war in a dirt lot, the weight and rhythm of the drums, and the grit of the environment. The look is slightly desaturated, giving it a grunge, grounded feel that amplifies the seriousness and texture of the scenes. Color serves to underscore the emotion and atmosphere, letting the tension, focus, and physicality of each moment come through naturally.” - Director, Brandon Chen

Director – @brandonjchen

Creative Director – @roeseph
Production Company – @bodeyco
Producer – @annayung__
DP – @fio.tv
Editor – @zoemountain
Sound Design – @chengsso

Colorist – @cameronmarygold @fairchild.color
Color Producer - @braydesk

@nomaintenance - You Don’t Have To Pick A Side

“This film is about raw, intense moments and tactile reality, the strain of a tug-of-war in a dirt lot, the weight and rhythm of the drums, and the grit of the environment. The look is slightly desaturated, giving it a grunge, grounded feel that amplifies the seriousness and texture of the scenes. Color serves to underscore the emotion and atmosphere, letting the tension, focus, and physicality of each moment come through naturally.” - Director, Brandon Chen

Director – @brandonjchen

Creative Director – @roeseph
Production Company – @bodeyco
Producer – @annayung__
DP – @fio.tv
Editor – @zoemountain
Sound Design – @chengsso

Colorist – @cameronmarygold @fairchild.color
Color Producer - @braydesk

@nomaintenance - You Don’t Have To Pick A Side

“This film is about raw, intense moments and tactile reality, the strain of a tug-of-war in a dirt lot, the weight and rhythm of the drums, and the grit of the environment. The look is slightly desaturated, giving it a grunge, grounded feel that amplifies the seriousness and texture of the scenes. Color serves to underscore the emotion and atmosphere, letting the tension, focus, and physicality of each moment come through naturally.” - Director, Brandon Chen

Director – @brandonjchen

Creative Director – @roeseph
Production Company – @bodeyco
Producer – @annayung__
DP – @fio.tv
Editor – @zoemountain
Sound Design – @chengsso

Colorist – @cameronmarygold @fairchild.color
Color Producer - @braydesk

@nomaintenance - You Don’t Have To Pick A Side

“This film is about raw, intense moments and tactile reality, the strain of a tug-of-war in a dirt lot, the weight and rhythm of the drums, and the grit of the environment. The look is slightly desaturated, giving it a grunge, grounded feel that amplifies the seriousness and texture of the scenes. Color serves to underscore the emotion and atmosphere, letting the tension, focus, and physicality of each moment come through naturally.” - Director, Brandon Chen

Director – @brandonjchen

Creative Director – @roeseph
Production Company – @bodeyco
Producer – @annayung__
DP – @fio.tv
Editor – @zoemountain
Sound Design – @chengsso

Colorist – @cameronmarygold @fairchild.color
Color Producer - @braydesk

Fairchild Hat - 003 - Launch

@aveenous & @togethxr - THE STRENGTH ISSUE

“Building a visual world that isn’t necessarily colorful is very much out of my comfort zone. That’s why we really leaned into the lighting design to further enrich the color palette. We didn’t want to be afraid of deep shadows and vignettes, but actually lean on it, since it creates a contrast with the creamy tones. I feel like at the end we were able to utilize skin undertones to inspire us as well, which feels fitting to the overall theme.” - Director, Kanya Iwana

“Our goal was to create a monochromatic world with depth and contrast. We chose to light with daylight tones and big soft sources to have the skin and the women really be the focus while still fitting in the world we created.” - Director of Photography, Madeline Leach

Director: @kanyaiwana
DOP: @madleach

Creative Direction & Production: @_mq______ & @themorrisongroup

Togethxr Creative: @jesschermayeff
Togethxr Editors: @arieljuliahairston, Marta Bender & Nikki Pardee

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@aveenous & @togethxr - THE STRENGTH ISSUE

“Building a visual world that isn’t necessarily colorful is very much out of my comfort zone. That’s why we really leaned into the lighting design to further enrich the color palette. We didn’t want to be afraid of deep shadows and vignettes, but actually lean on it, since it creates a contrast with the creamy tones. I feel like at the end we were able to utilize skin undertones to inspire us as well, which feels fitting to the overall theme.” - Director, Kanya Iwana

“Our goal was to create a monochromatic world with depth and contrast. We chose to light with daylight tones and big soft sources to have the skin and the women really be the focus while still fitting in the world we created.” - Director of Photography, Madeline Leach

Director: @kanyaiwana
DOP: @madleach

Creative Direction & Production: @_mq______ & @themorrisongroup

Togethxr Creative: @jesschermayeff
Togethxr Editors: @arieljuliahairston, Marta Bender & Nikki Pardee

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@aveenous & @togethxr - THE STRENGTH ISSUE

“Building a visual world that isn’t necessarily colorful is very much out of my comfort zone. That’s why we really leaned into the lighting design to further enrich the color palette. We didn’t want to be afraid of deep shadows and vignettes, but actually lean on it, since it creates a contrast with the creamy tones. I feel like at the end we were able to utilize skin undertones to inspire us as well, which feels fitting to the overall theme.” - Director, Kanya Iwana

“Our goal was to create a monochromatic world with depth and contrast. We chose to light with daylight tones and big soft sources to have the skin and the women really be the focus while still fitting in the world we created.” - Director of Photography, Madeline Leach

Director: @kanyaiwana
DOP: @madleach

Creative Direction & Production: @_mq______ & @themorrisongroup

Togethxr Creative: @jesschermayeff
Togethxr Editors: @arieljuliahairston, Marta Bender & Nikki Pardee

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@aveenous & @togethxr - THE STRENGTH ISSUE

“Building a visual world that isn’t necessarily colorful is very much out of my comfort zone. That’s why we really leaned into the lighting design to further enrich the color palette. We didn’t want to be afraid of deep shadows and vignettes, but actually lean on it, since it creates a contrast with the creamy tones. I feel like at the end we were able to utilize skin undertones to inspire us as well, which feels fitting to the overall theme.” - Director, Kanya Iwana

“Our goal was to create a monochromatic world with depth and contrast. We chose to light with daylight tones and big soft sources to have the skin and the women really be the focus while still fitting in the world we created.” - Director of Photography, Madeline Leach

Director: @kanyaiwana
DOP: @madleach

Creative Direction & Production: @_mq______ & @themorrisongroup

Togethxr Creative: @jesschermayeff
Togethxr Editors: @arieljuliahairston, Marta Bender & Nikki Pardee

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@aveenous & @togethxr - THE STRENGTH ISSUE

“Building a visual world that isn’t necessarily colorful is very much out of my comfort zone. That’s why we really leaned into the lighting design to further enrich the color palette. We didn’t want to be afraid of deep shadows and vignettes, but actually lean on it, since it creates a contrast with the creamy tones. I feel like at the end we were able to utilize skin undertones to inspire us as well, which feels fitting to the overall theme.” - Director, Kanya Iwana

“Our goal was to create a monochromatic world with depth and contrast. We chose to light with daylight tones and big soft sources to have the skin and the women really be the focus while still fitting in the world we created.” - Director of Photography, Madeline Leach

Director: @kanyaiwana
DOP: @madleach

Creative Direction & Production: @_mq______ & @themorrisongroup

Togethxr Creative: @jesschermayeff
Togethxr Editors: @arieljuliahairston, Marta Bender & Nikki Pardee

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@aveenous & @togethxr - THE STRENGTH ISSUE

“Building a visual world that isn’t necessarily colorful is very much out of my comfort zone. That’s why we really leaned into the lighting design to further enrich the color palette. We didn’t want to be afraid of deep shadows and vignettes, but actually lean on it, since it creates a contrast with the creamy tones. I feel like at the end we were able to utilize skin undertones to inspire us as well, which feels fitting to the overall theme.” - Director, Kanya Iwana

“Our goal was to create a monochromatic world with depth and contrast. We chose to light with daylight tones and big soft sources to have the skin and the women really be the focus while still fitting in the world we created.” - Director of Photography, Madeline Leach

Director: @kanyaiwana
DOP: @madleach

Creative Direction & Production: @_mq______ & @themorrisongroup

Togethxr Creative: @jesschermayeff
Togethxr Editors: @arieljuliahairston, Marta Bender & Nikki Pardee

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@aveenous & @togethxr - THE STRENGTH ISSUE

“Building a visual world that isn’t necessarily colorful is very much out of my comfort zone. That’s why we really leaned into the lighting design to further enrich the color palette. We didn’t want to be afraid of deep shadows and vignettes, but actually lean on it, since it creates a contrast with the creamy tones. I feel like at the end we were able to utilize skin undertones to inspire us as well, which feels fitting to the overall theme.” - Director, Kanya Iwana

“Our goal was to create a monochromatic world with depth and contrast. We chose to light with daylight tones and big soft sources to have the skin and the women really be the focus while still fitting in the world we created.” - Director of Photography, Madeline Leach

Director: @kanyaiwana
DOP: @madleach

Creative Direction & Production: @_mq______ & @themorrisongroup

Togethxr Creative: @jesschermayeff
Togethxr Editors: @arieljuliahairston, Marta Bender & Nikki Pardee

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

ARCHIVE #001: @tainy & @feid - MONSTRUO

With a focus on building a dark, otherworldly atmosphere, all of the pieces fell into place with this striking video from @stillz last year. Shot on black and white 35mm film, there was a clear direction of where this look needed to be pushed.

Director: @stillz
DOP: Alexander Gruszynski, ASC

Production Company: @weownthecity
Producer: @estebanzuzu

Editors: @stillz @danielmendoza

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

ARCHIVE #001: @tainy & @feid - MONSTRUO

With a focus on building a dark, otherworldly atmosphere, all of the pieces fell into place with this striking video from @stillz last year. Shot on black and white 35mm film, there was a clear direction of where this look needed to be pushed.

Director: @stillz
DOP: Alexander Gruszynski, ASC

Production Company: @weownthecity
Producer: @estebanzuzu

Editors: @stillz @danielmendoza

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

ARCHIVE #001: @tainy & @feid - MONSTRUO

With a focus on building a dark, otherworldly atmosphere, all of the pieces fell into place with this striking video from @stillz last year. Shot on black and white 35mm film, there was a clear direction of where this look needed to be pushed.

Director: @stillz
DOP: Alexander Gruszynski, ASC

Production Company: @weownthecity
Producer: @estebanzuzu

Editors: @stillz @danielmendoza

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

ARCHIVE #001: @tainy & @feid - MONSTRUO

With a focus on building a dark, otherworldly atmosphere, all of the pieces fell into place with this striking video from @stillz last year. Shot on black and white 35mm film, there was a clear direction of where this look needed to be pushed.

Director: @stillz
DOP: Alexander Gruszynski, ASC

Production Company: @weownthecity
Producer: @estebanzuzu

Editors: @stillz @danielmendoza

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

ARCHIVE #001: @tainy & @feid - MONSTRUO

With a focus on building a dark, otherworldly atmosphere, all of the pieces fell into place with this striking video from @stillz last year. Shot on black and white 35mm film, there was a clear direction of where this look needed to be pushed.

Director: @stillz
DOP: Alexander Gruszynski, ASC

Production Company: @weownthecity
Producer: @estebanzuzu

Editors: @stillz @danielmendoza

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

ARCHIVE #001: @tainy & @feid - MONSTRUO

With a focus on building a dark, otherworldly atmosphere, all of the pieces fell into place with this striking video from @stillz last year. Shot on black and white 35mm film, there was a clear direction of where this look needed to be pushed.

Director: @stillz
DOP: Alexander Gruszynski, ASC

Production Company: @weownthecity
Producer: @estebanzuzu

Editors: @stillz @danielmendoza

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

ARCHIVE #001: @tainy & @feid - MONSTRUO

With a focus on building a dark, otherworldly atmosphere, all of the pieces fell into place with this striking video from @stillz last year. Shot on black and white 35mm film, there was a clear direction of where this look needed to be pushed.

Director: @stillz
DOP: Alexander Gruszynski, ASC

Production Company: @weownthecity
Producer: @estebanzuzu

Editors: @stillz @danielmendoza

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@vans x @cortis

“When I first heard Cortis, I knew it would be a great opportunity for me to combine their energy with Vans’ “OFF THE WALL” spirit. We were able to transform the studio into a waterproof tank so we could keep things practical to place them in an environment that they could interact with.

Because we focused on authenticity and tried capturing everything in camera as much as possible, we were able to effortlessly mesh these two worlds together.” - Yuann, Director

Director: @yuann0111
DOP: @13rolls

Production Company: @kidzfrmnowhere @kidzfrmnowhere.cn @obvious.seoul
Producer: @evita.ren

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@vans x @cortis

“When I first heard Cortis, I knew it would be a great opportunity for me to combine their energy with Vans’ “OFF THE WALL” spirit. We were able to transform the studio into a waterproof tank so we could keep things practical to place them in an environment that they could interact with.

Because we focused on authenticity and tried capturing everything in camera as much as possible, we were able to effortlessly mesh these two worlds together.” - Yuann, Director

Director: @yuann0111
DOP: @13rolls

Production Company: @kidzfrmnowhere @kidzfrmnowhere.cn @obvious.seoul
Producer: @evita.ren

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@vans x @cortis

“When I first heard Cortis, I knew it would be a great opportunity for me to combine their energy with Vans’ “OFF THE WALL” spirit. We were able to transform the studio into a waterproof tank so we could keep things practical to place them in an environment that they could interact with.

Because we focused on authenticity and tried capturing everything in camera as much as possible, we were able to effortlessly mesh these two worlds together.” - Yuann, Director

Director: @yuann0111
DOP: @13rolls

Production Company: @kidzfrmnowhere @kidzfrmnowhere.cn @obvious.seoul
Producer: @evita.ren

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@vans x @cortis

“When I first heard Cortis, I knew it would be a great opportunity for me to combine their energy with Vans’ “OFF THE WALL” spirit. We were able to transform the studio into a waterproof tank so we could keep things practical to place them in an environment that they could interact with.

Because we focused on authenticity and tried capturing everything in camera as much as possible, we were able to effortlessly mesh these two worlds together.” - Yuann, Director

Director: @yuann0111
DOP: @13rolls

Production Company: @kidzfrmnowhere @kidzfrmnowhere.cn @obvious.seoul
Producer: @evita.ren

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@vans x @cortis

“When I first heard Cortis, I knew it would be a great opportunity for me to combine their energy with Vans’ “OFF THE WALL” spirit. We were able to transform the studio into a waterproof tank so we could keep things practical to place them in an environment that they could interact with.

Because we focused on authenticity and tried capturing everything in camera as much as possible, we were able to effortlessly mesh these two worlds together.” - Yuann, Director

Director: @yuann0111
DOP: @13rolls

Production Company: @kidzfrmnowhere @kidzfrmnowhere.cn @obvious.seoul
Producer: @evita.ren

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@vans x @cortis

“When I first heard Cortis, I knew it would be a great opportunity for me to combine their energy with Vans’ “OFF THE WALL” spirit. We were able to transform the studio into a waterproof tank so we could keep things practical to place them in an environment that they could interact with.

Because we focused on authenticity and tried capturing everything in camera as much as possible, we were able to effortlessly mesh these two worlds together.” - Yuann, Director

Director: @yuann0111
DOP: @13rolls

Production Company: @kidzfrmnowhere @kidzfrmnowhere.cn @obvious.seoul
Producer: @evita.ren

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@vans x @cortis

“When I first heard Cortis, I knew it would be a great opportunity for me to combine their energy with Vans’ “OFF THE WALL” spirit. We were able to transform the studio into a waterproof tank so we could keep things practical to place them in an environment that they could interact with.

Because we focused on authenticity and tried capturing everything in camera as much as possible, we were able to effortlessly mesh these two worlds together.” - Yuann, Director

Director: @yuann0111
DOP: @13rolls

Production Company: @kidzfrmnowhere @kidzfrmnowhere.cn @obvious.seoul
Producer: @evita.ren

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

Fairchild Postcards - 002 - Launch

4”x6” blind debossed postcards on 300 GSM cardstock, each card with a hand applied sticker featuring a still from various projects.

@hollyhumberstone - To Love Somebody

“I wanted ‘To Love Somebody’ to feel very interior, as if it all takes place within the labyrinth of the mind - dark, shadowy corners, cold shades of blue, a certain dreamy, moonlit feel which I believe we found through the specific tones and colors we chose.The library leaned into warmer hues to contrast the rest of the cold dreary world - a golden center amidst the gloom.

I’m forever inspired by classic cinema and Romantic era paintings which have really informed the Cruel World universe - Jack Cardiff’s cinematography (red shoes and black narcissus) + Henry Fuseli’s paintings (The Shephard’s Dream 1793 and Lady Macbeth Seizing the Daggers 1812) are just a few specific guiding stars we looked to for To Love Somebody’s use of light and color.” - Silken Weinberg, Director

Director: @silkenweinberg
DOP: @peter.bishoppp

Creative Director: @hollyhumberstone@elerihumberstone @dnckwrts
Executive Producer: @coco.anthony.a @carolinegluck
Production Company: @amavo.creations @ted.and.jane

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@hollyhumberstone - To Love Somebody

“I wanted ‘To Love Somebody’ to feel very interior, as if it all takes place within the labyrinth of the mind - dark, shadowy corners, cold shades of blue, a certain dreamy, moonlit feel which I believe we found through the specific tones and colors we chose.The library leaned into warmer hues to contrast the rest of the cold dreary world - a golden center amidst the gloom.

I’m forever inspired by classic cinema and Romantic era paintings which have really informed the Cruel World universe - Jack Cardiff’s cinematography (red shoes and black narcissus) + Henry Fuseli’s paintings (The Shephard’s Dream 1793 and Lady Macbeth Seizing the Daggers 1812) are just a few specific guiding stars we looked to for To Love Somebody’s use of light and color.” - Silken Weinberg, Director

Director: @silkenweinberg
DOP: @peter.bishoppp

Creative Director: @hollyhumberstone@elerihumberstone @dnckwrts
Executive Producer: @coco.anthony.a @carolinegluck
Production Company: @amavo.creations @ted.and.jane

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@hollyhumberstone - To Love Somebody

“I wanted ‘To Love Somebody’ to feel very interior, as if it all takes place within the labyrinth of the mind - dark, shadowy corners, cold shades of blue, a certain dreamy, moonlit feel which I believe we found through the specific tones and colors we chose.The library leaned into warmer hues to contrast the rest of the cold dreary world - a golden center amidst the gloom.

I’m forever inspired by classic cinema and Romantic era paintings which have really informed the Cruel World universe - Jack Cardiff’s cinematography (red shoes and black narcissus) + Henry Fuseli’s paintings (The Shephard’s Dream 1793 and Lady Macbeth Seizing the Daggers 1812) are just a few specific guiding stars we looked to for To Love Somebody’s use of light and color.” - Silken Weinberg, Director

Director: @silkenweinberg
DOP: @peter.bishoppp

Creative Director: @hollyhumberstone@elerihumberstone @dnckwrts
Executive Producer: @coco.anthony.a @carolinegluck
Production Company: @amavo.creations @ted.and.jane

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@hollyhumberstone - To Love Somebody

“I wanted ‘To Love Somebody’ to feel very interior, as if it all takes place within the labyrinth of the mind - dark, shadowy corners, cold shades of blue, a certain dreamy, moonlit feel which I believe we found through the specific tones and colors we chose.The library leaned into warmer hues to contrast the rest of the cold dreary world - a golden center amidst the gloom.

I’m forever inspired by classic cinema and Romantic era paintings which have really informed the Cruel World universe - Jack Cardiff’s cinematography (red shoes and black narcissus) + Henry Fuseli’s paintings (The Shephard’s Dream 1793 and Lady Macbeth Seizing the Daggers 1812) are just a few specific guiding stars we looked to for To Love Somebody’s use of light and color.” - Silken Weinberg, Director

Director: @silkenweinberg
DOP: @peter.bishoppp

Creative Director: @hollyhumberstone@elerihumberstone @dnckwrts
Executive Producer: @coco.anthony.a @carolinegluck
Production Company: @amavo.creations @ted.and.jane

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@hollyhumberstone - To Love Somebody

“I wanted ‘To Love Somebody’ to feel very interior, as if it all takes place within the labyrinth of the mind - dark, shadowy corners, cold shades of blue, a certain dreamy, moonlit feel which I believe we found through the specific tones and colors we chose.The library leaned into warmer hues to contrast the rest of the cold dreary world - a golden center amidst the gloom.

I’m forever inspired by classic cinema and Romantic era paintings which have really informed the Cruel World universe - Jack Cardiff’s cinematography (red shoes and black narcissus) + Henry Fuseli’s paintings (The Shephard’s Dream 1793 and Lady Macbeth Seizing the Daggers 1812) are just a few specific guiding stars we looked to for To Love Somebody’s use of light and color.” - Silken Weinberg, Director

Director: @silkenweinberg
DOP: @peter.bishoppp

Creative Director: @hollyhumberstone@elerihumberstone @dnckwrts
Executive Producer: @coco.anthony.a @carolinegluck
Production Company: @amavo.creations @ted.and.jane

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@hollyhumberstone - To Love Somebody

“I wanted ‘To Love Somebody’ to feel very interior, as if it all takes place within the labyrinth of the mind - dark, shadowy corners, cold shades of blue, a certain dreamy, moonlit feel which I believe we found through the specific tones and colors we chose.The library leaned into warmer hues to contrast the rest of the cold dreary world - a golden center amidst the gloom.

I’m forever inspired by classic cinema and Romantic era paintings which have really informed the Cruel World universe - Jack Cardiff’s cinematography (red shoes and black narcissus) + Henry Fuseli’s paintings (The Shephard’s Dream 1793 and Lady Macbeth Seizing the Daggers 1812) are just a few specific guiding stars we looked to for To Love Somebody’s use of light and color.” - Silken Weinberg, Director

Director: @silkenweinberg
DOP: @peter.bishoppp

Creative Director: @hollyhumberstone@elerihumberstone @dnckwrts
Executive Producer: @coco.anthony.a @carolinegluck
Production Company: @amavo.creations @ted.and.jane

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@spotify @ourfrequency -

“I really wanted to focus on unique compositions via blocking for this project. I knew we wouldn’t have much time for b-roll setups, so the ideas also needed to be practical within that context.” - Keaton Greene, Director

“We chose to shoot this on 4-perf 35mm, Kodak 250D, because I wanted the image to carry a kind of regal depth in the color and tonality. I pushed the stock one stop to bring out a touch more of that fine 35mm grain, and to give the our skin tones, and colors of the world, a bit more life and baked-in vibrancy.” - Ayinde Anderson, Director of Photography

Director: @keatongreene_
Director of Photography: @ayindeanderson_

Production Company: @hueunlimited
EP & CD: @forevershowtime
EP: @thefacelessdon
Producer: @deyonteakeem
Editor: @ciaraboniface

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@spotify @ourfrequency -

“I really wanted to focus on unique compositions via blocking for this project. I knew we wouldn’t have much time for b-roll setups, so the ideas also needed to be practical within that context.” - Keaton Greene, Director

“We chose to shoot this on 4-perf 35mm, Kodak 250D, because I wanted the image to carry a kind of regal depth in the color and tonality. I pushed the stock one stop to bring out a touch more of that fine 35mm grain, and to give the our skin tones, and colors of the world, a bit more life and baked-in vibrancy.” - Ayinde Anderson, Director of Photography

Director: @keatongreene_
Director of Photography: @ayindeanderson_

Production Company: @hueunlimited
EP & CD: @forevershowtime
EP: @thefacelessdon
Producer: @deyonteakeem
Editor: @ciaraboniface

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@spotify @ourfrequency -

“I really wanted to focus on unique compositions via blocking for this project. I knew we wouldn’t have much time for b-roll setups, so the ideas also needed to be practical within that context.” - Keaton Greene, Director

“We chose to shoot this on 4-perf 35mm, Kodak 250D, because I wanted the image to carry a kind of regal depth in the color and tonality. I pushed the stock one stop to bring out a touch more of that fine 35mm grain, and to give the our skin tones, and colors of the world, a bit more life and baked-in vibrancy.” - Ayinde Anderson, Director of Photography

Director: @keatongreene_
Director of Photography: @ayindeanderson_

Production Company: @hueunlimited
EP & CD: @forevershowtime
EP: @thefacelessdon
Producer: @deyonteakeem
Editor: @ciaraboniface

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@spotify @ourfrequency -

“I really wanted to focus on unique compositions via blocking for this project. I knew we wouldn’t have much time for b-roll setups, so the ideas also needed to be practical within that context.” - Keaton Greene, Director

“We chose to shoot this on 4-perf 35mm, Kodak 250D, because I wanted the image to carry a kind of regal depth in the color and tonality. I pushed the stock one stop to bring out a touch more of that fine 35mm grain, and to give the our skin tones, and colors of the world, a bit more life and baked-in vibrancy.” - Ayinde Anderson, Director of Photography

Director: @keatongreene_
Director of Photography: @ayindeanderson_

Production Company: @hueunlimited
EP & CD: @forevershowtime
EP: @thefacelessdon
Producer: @deyonteakeem
Editor: @ciaraboniface

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@spotify @ourfrequency -

“I really wanted to focus on unique compositions via blocking for this project. I knew we wouldn’t have much time for b-roll setups, so the ideas also needed to be practical within that context.” - Keaton Greene, Director

“We chose to shoot this on 4-perf 35mm, Kodak 250D, because I wanted the image to carry a kind of regal depth in the color and tonality. I pushed the stock one stop to bring out a touch more of that fine 35mm grain, and to give the our skin tones, and colors of the world, a bit more life and baked-in vibrancy.” - Ayinde Anderson, Director of Photography

Director: @keatongreene_
Director of Photography: @ayindeanderson_

Production Company: @hueunlimited
EP & CD: @forevershowtime
EP: @thefacelessdon
Producer: @deyonteakeem
Editor: @ciaraboniface

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@spotify @ourfrequency -

“I really wanted to focus on unique compositions via blocking for this project. I knew we wouldn’t have much time for b-roll setups, so the ideas also needed to be practical within that context.” - Keaton Greene, Director

“We chose to shoot this on 4-perf 35mm, Kodak 250D, because I wanted the image to carry a kind of regal depth in the color and tonality. I pushed the stock one stop to bring out a touch more of that fine 35mm grain, and to give the our skin tones, and colors of the world, a bit more life and baked-in vibrancy.” - Ayinde Anderson, Director of Photography

Director: @keatongreene_
Director of Photography: @ayindeanderson_

Production Company: @hueunlimited
EP & CD: @forevershowtime
EP: @thefacelessdon
Producer: @deyonteakeem
Editor: @ciaraboniface

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk

@spotify @ourfrequency -

“I really wanted to focus on unique compositions via blocking for this project. I knew we wouldn’t have much time for b-roll setups, so the ideas also needed to be practical within that context.” - Keaton Greene, Director

“We chose to shoot this on 4-perf 35mm, Kodak 250D, because I wanted the image to carry a kind of regal depth in the color and tonality. I pushed the stock one stop to bring out a touch more of that fine 35mm grain, and to give the our skin tones, and colors of the world, a bit more life and baked-in vibrancy.” - Ayinde Anderson, Director of Photography

Director: @keatongreene_
Director of Photography: @ayindeanderson_

Production Company: @hueunlimited
EP & CD: @forevershowtime
EP: @thefacelessdon
Producer: @deyonteakeem
Editor: @ciaraboniface

Colorist: @cameronmarygold
Color House: @fairchild.color
Color Producer: @braydesk