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Such a fun one to bring to life! Building on an ongoing collaboration with @trustandwill and Marketing Architects, this campaign scales the comedy with a refined, broadcast-ready finish.
Sawhorse led the production approach, combining practical builds, VFX, and end-to-end craft to bring the vision to life.
🎬 Directed by @okaplan
2025 BY THE NUMBERS
What a year! The scary beast known as AI transformed almost every part of my process for better or worse. As 2025 progressed I saw more AI-generated storyboards, images, and animatics from agencies which made being creative more challenging. In pitch calls I felt compelled to let folks know that I write my own treatments (not ChatGPT).
On the bright side, LA production felt like it's making a comeback. Personally, I think I did a better job of balancing work & family life with @karaluiz this year. I also watched way more movies. Here are my stats for 2025 —
JOBS PITCHED: 25
JOBS AWARDED: 14
JOBS SHOT: 15 (13 U.S. / 8 L.A.)
SHOOT DAYS: 26
TREATMENTS WRITTEN: 19
TREATMENT-WINNING JOBS: 8
REPEAT CLIENTS: 5
AGENCY BRIEFS w/AI BOARDS: 12
DPs: 12 (7 new)
PDs: 12 (8 new)
ADs: 8 (5 new)
@artclasscontent was the driving force behind my year, but I was lucky to also collaborate with friends at @sawhorse_productions @116pictures @stringlightgroup @wearesocialus
There’s an endless list of collaborators
(but I can only tag 20) — @kirstenarongino @lsg.me @citizeno @nikkiweissandco @we_are_simpatico @heromgmt @blaker_b @gordonwestman @kellyman @metrockfu @mondaymike76 @katiebeau00 @shadybrady66 @justshootitpod
🐶✨ Director Oren Kaplan captures the cutest lineup for the new @purina benefuls spot.
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Production Credits
Agency: CMS Productions
Director: @okaplan
MP: @geno_imbriale
Managing Director: @kirstenarongino
HoP: @sparkjones13
Executive Producer: @lsg.me
Staff Producer: @oliviapossino
Staff Coordinator: @shaydanmk
Line Producer: @metrockfu
1st AD: @julianmaxmetter
DP: @bryantjansen
Key Grip: @usagrips
Gaffer: Braden Barton
Production Manager: @hanrolo5
Production Coordinator: @caitlyn_silkey
Production Designer: @dustingrabiner
Food Stylist: Shellie Anderson
Key Costumer: @dianadilllon
Post
Editor: @jbogr
EP, Post: @mickeykeegan
Post Producer: @gracerehorn
Assistant Editor: @jessethreat
CG: Ben Webber & Britta McPherson @ PrePost
VFX: Kevin Pierce
Color: @dan.swierenga
Audio: Ian Sorrentino
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Sales Rep: @nikkiweissandco
Director Oren Kaplan works his magic on this new spot for @walmart, starring the one and only @nph . ✨🎩
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Agency: @omnicom
Director: @okaplan
MP: @geno_imbriale
Managing Director: @kirstenarongino
HoP: @sparkjones13
Executive Producer: @lsg.me
Staff Producer: @oliviapossino
Staff Coordinator: @shaydanmk
Line Producer: @willagold
1st AD: Mike Polisano
DP: @federico.tamburini
Key Grip: @gulabksingh
Production Manager: Brooke Filewich
Production Coordinator: Kat Tingum
Production Designer: @roxymartinezmichaud
Celebrity Stylist: @samspector
Celebrity Groomer: @amykomorowski
Post Production
Editor: @jbogr
EP, Post: @mickeykeegan
Post Producer: @gracerehorn
Assist Editor: Dominique Machain
Color: Gregory Reese @royal.muster
Audio: @sonicunionnyc
Flame Artist: Eric Pascua
#ArtClassContent #BoxTops #Walmart #NPH #OrenKaplan #BackToSchool
New work from Dir. Oren Kaplan for @hearst : @bringatrailer
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Agency: @pmgworldwide
Director: @okaplan
MP: @geno_imbriale
Managing Director: @kirstenarongino
HoP: @sparkjones13
Executive Producer: @lsg.me
Staff Producer: @oliviapossino
Staff Coordinator: @shaydanmk
Line Producer: @mzberjord
DP: @seanpconaty
1st AD: @augiealcala
Key Grip: @justinseyb
Production Supervisor: Shane Greb
Production Designer: @brain_mark
Stylist: @chrissy_p_stylist
HMU: Ethan Johnson
Editor: @jbogr
ECD: @labo.kuriko
EP, Post: @mickeykeegan
Post Producer: @gracerehorn // @raxxner
Design / Animation: Eric Van Buskirk
Assist Editor: Dominique Machain, Stephen Deaver, @jessethreat
Color: @kaitlynbattistelli @ethos
Audio: @iansorrentino @littlebearaudio
THINKING IN LAYERS
No matter the size of the shoot, I'm always thinking about how Visual Effects can help to accomplish or improve every shot. To me VFX is just splitting your shot into elements on set and putting them back together in post.
For this Capital One shoot the concept was that a dad at his kid’s birthday party is so happy with the Capital One app that he’s oblivious to the chaos around him. This was a SAG shoot and we could only afford one actor, which meant no kids at the kids birthday party 🤔. So we created chaos in other ways — petting zoo animals get loose and a goat rams the cake table, launching it in the air.
We couldn’t get the goat to ram the actual table and a CG goat was out of budget. We rigged the cake to blast in the air and filmed the goat running as a separate element. For more chaos I tossed in a chicken, a rabbit, and a bouncy house. It was only a 4-second shot but I wanted to do everything I could to distract from the lack of children. And once I was in After Effects, I fixed a bunch of other things I didn’t like about the shot that you see in my breakdown.
In this carousel:
1. VFX Breakdown of Cakesplosion
2. The final “Birthday” spot
3. The “Dinner” spot w/boards
4. My CG render of the goat
5. The Cannon that Flipped the Table
6. Our Technodolly
7. The Goat Running
8. Testing a Chicken Toss
9. Blasting the Blender
10. Positioning the Camera
All in all a fun and less-messy-than-you'd-expect day!
ProdCo: @artclasscontent
Managing Director: @kirstenarongino
Executive Producer: @lsg.me and @citizeno
Producer: @kellyman
1st AD: @shadybrady66
DP: @bryantjansen
Production Manager: Christina Jurado
Production Designer: @andreandrealeigh
Stylist: Karen Mann
Storyboards: @julietadelapazobercie
Cast: @iamstephaune @sabrinajrudolph and @zoleeg
THINKING IN LAYERS
No matter the size of the shoot, I'm always thinking about how Visual Effects can help to accomplish or improve every shot. To me VFX is just splitting your shot into elements on set and putting them back together in post.
For this Capital One shoot the concept was that a dad at his kid’s birthday party is so happy with the Capital One app that he’s oblivious to the chaos around him. This was a SAG shoot and we could only afford one actor, which meant no kids at the kids birthday party 🤔. So we created chaos in other ways — petting zoo animals get loose and a goat rams the cake table, launching it in the air.
We couldn’t get the goat to ram the actual table and a CG goat was out of budget. We rigged the cake to blast in the air and filmed the goat running as a separate element. For more chaos I tossed in a chicken, a rabbit, and a bouncy house. It was only a 4-second shot but I wanted to do everything I could to distract from the lack of children. And once I was in After Effects, I fixed a bunch of other things I didn’t like about the shot that you see in my breakdown.
In this carousel:
1. VFX Breakdown of Cakesplosion
2. The final “Birthday” spot
3. The “Dinner” spot w/boards
4. My CG render of the goat
5. The Cannon that Flipped the Table
6. Our Technodolly
7. The Goat Running
8. Testing a Chicken Toss
9. Blasting the Blender
10. Positioning the Camera
All in all a fun and less-messy-than-you'd-expect day!
ProdCo: @artclasscontent
Managing Director: @kirstenarongino
Executive Producer: @lsg.me and @citizeno
Producer: @kellyman
1st AD: @shadybrady66
DP: @bryantjansen
Production Manager: Christina Jurado
Production Designer: @andreandrealeigh
Stylist: Karen Mann
Storyboards: @julietadelapazobercie
Cast: @iamstephaune @sabrinajrudolph and @zoleeg
THINKING IN LAYERS
No matter the size of the shoot, I'm always thinking about how Visual Effects can help to accomplish or improve every shot. To me VFX is just splitting your shot into elements on set and putting them back together in post.
For this Capital One shoot the concept was that a dad at his kid’s birthday party is so happy with the Capital One app that he’s oblivious to the chaos around him. This was a SAG shoot and we could only afford one actor, which meant no kids at the kids birthday party 🤔. So we created chaos in other ways — petting zoo animals get loose and a goat rams the cake table, launching it in the air.
We couldn’t get the goat to ram the actual table and a CG goat was out of budget. We rigged the cake to blast in the air and filmed the goat running as a separate element. For more chaos I tossed in a chicken, a rabbit, and a bouncy house. It was only a 4-second shot but I wanted to do everything I could to distract from the lack of children. And once I was in After Effects, I fixed a bunch of other things I didn’t like about the shot that you see in my breakdown.
In this carousel:
1. VFX Breakdown of Cakesplosion
2. The final “Birthday” spot
3. The “Dinner” spot w/boards
4. My CG render of the goat
5. The Cannon that Flipped the Table
6. Our Technodolly
7. The Goat Running
8. Testing a Chicken Toss
9. Blasting the Blender
10. Positioning the Camera
All in all a fun and less-messy-than-you'd-expect day!
ProdCo: @artclasscontent
Managing Director: @kirstenarongino
Executive Producer: @lsg.me and @citizeno
Producer: @kellyman
1st AD: @shadybrady66
DP: @bryantjansen
Production Manager: Christina Jurado
Production Designer: @andreandrealeigh
Stylist: Karen Mann
Storyboards: @julietadelapazobercie
Cast: @iamstephaune @sabrinajrudolph and @zoleeg
THINKING IN LAYERS
No matter the size of the shoot, I'm always thinking about how Visual Effects can help to accomplish or improve every shot. To me VFX is just splitting your shot into elements on set and putting them back together in post.
For this Capital One shoot the concept was that a dad at his kid’s birthday party is so happy with the Capital One app that he’s oblivious to the chaos around him. This was a SAG shoot and we could only afford one actor, which meant no kids at the kids birthday party 🤔. So we created chaos in other ways — petting zoo animals get loose and a goat rams the cake table, launching it in the air.
We couldn’t get the goat to ram the actual table and a CG goat was out of budget. We rigged the cake to blast in the air and filmed the goat running as a separate element. For more chaos I tossed in a chicken, a rabbit, and a bouncy house. It was only a 4-second shot but I wanted to do everything I could to distract from the lack of children. And once I was in After Effects, I fixed a bunch of other things I didn’t like about the shot that you see in my breakdown.
In this carousel:
1. VFX Breakdown of Cakesplosion
2. The final “Birthday” spot
3. The “Dinner” spot w/boards
4. My CG render of the goat
5. The Cannon that Flipped the Table
6. Our Technodolly
7. The Goat Running
8. Testing a Chicken Toss
9. Blasting the Blender
10. Positioning the Camera
All in all a fun and less-messy-than-you'd-expect day!
ProdCo: @artclasscontent
Managing Director: @kirstenarongino
Executive Producer: @lsg.me and @citizeno
Producer: @kellyman
1st AD: @shadybrady66
DP: @bryantjansen
Production Manager: Christina Jurado
Production Designer: @andreandrealeigh
Stylist: Karen Mann
Storyboards: @julietadelapazobercie
Cast: @iamstephaune @sabrinajrudolph and @zoleeg
THINKING IN LAYERS
No matter the size of the shoot, I'm always thinking about how Visual Effects can help to accomplish or improve every shot. To me VFX is just splitting your shot into elements on set and putting them back together in post.
For this Capital One shoot the concept was that a dad at his kid’s birthday party is so happy with the Capital One app that he’s oblivious to the chaos around him. This was a SAG shoot and we could only afford one actor, which meant no kids at the kids birthday party 🤔. So we created chaos in other ways — petting zoo animals get loose and a goat rams the cake table, launching it in the air.
We couldn’t get the goat to ram the actual table and a CG goat was out of budget. We rigged the cake to blast in the air and filmed the goat running as a separate element. For more chaos I tossed in a chicken, a rabbit, and a bouncy house. It was only a 4-second shot but I wanted to do everything I could to distract from the lack of children. And once I was in After Effects, I fixed a bunch of other things I didn’t like about the shot that you see in my breakdown.
In this carousel:
1. VFX Breakdown of Cakesplosion
2. The final “Birthday” spot
3. The “Dinner” spot w/boards
4. My CG render of the goat
5. The Cannon that Flipped the Table
6. Our Technodolly
7. The Goat Running
8. Testing a Chicken Toss
9. Blasting the Blender
10. Positioning the Camera
All in all a fun and less-messy-than-you'd-expect day!
ProdCo: @artclasscontent
Managing Director: @kirstenarongino
Executive Producer: @lsg.me and @citizeno
Producer: @kellyman
1st AD: @shadybrady66
DP: @bryantjansen
Production Manager: Christina Jurado
Production Designer: @andreandrealeigh
Stylist: Karen Mann
Storyboards: @julietadelapazobercie
Cast: @iamstephaune @sabrinajrudolph and @zoleeg
THINKING IN LAYERS
No matter the size of the shoot, I'm always thinking about how Visual Effects can help to accomplish or improve every shot. To me VFX is just splitting your shot into elements on set and putting them back together in post.
For this Capital One shoot the concept was that a dad at his kid’s birthday party is so happy with the Capital One app that he’s oblivious to the chaos around him. This was a SAG shoot and we could only afford one actor, which meant no kids at the kids birthday party 🤔. So we created chaos in other ways — petting zoo animals get loose and a goat rams the cake table, launching it in the air.
We couldn’t get the goat to ram the actual table and a CG goat was out of budget. We rigged the cake to blast in the air and filmed the goat running as a separate element. For more chaos I tossed in a chicken, a rabbit, and a bouncy house. It was only a 4-second shot but I wanted to do everything I could to distract from the lack of children. And once I was in After Effects, I fixed a bunch of other things I didn’t like about the shot that you see in my breakdown.
In this carousel:
1. VFX Breakdown of Cakesplosion
2. The final “Birthday” spot
3. The “Dinner” spot w/boards
4. My CG render of the goat
5. The Cannon that Flipped the Table
6. Our Technodolly
7. The Goat Running
8. Testing a Chicken Toss
9. Blasting the Blender
10. Positioning the Camera
All in all a fun and less-messy-than-you'd-expect day!
ProdCo: @artclasscontent
Managing Director: @kirstenarongino
Executive Producer: @lsg.me and @citizeno
Producer: @kellyman
1st AD: @shadybrady66
DP: @bryantjansen
Production Manager: Christina Jurado
Production Designer: @andreandrealeigh
Stylist: Karen Mann
Storyboards: @julietadelapazobercie
Cast: @iamstephaune @sabrinajrudolph and @zoleeg
THINKING IN LAYERS
No matter the size of the shoot, I'm always thinking about how Visual Effects can help to accomplish or improve every shot. To me VFX is just splitting your shot into elements on set and putting them back together in post.
For this Capital One shoot the concept was that a dad at his kid’s birthday party is so happy with the Capital One app that he’s oblivious to the chaos around him. This was a SAG shoot and we could only afford one actor, which meant no kids at the kids birthday party 🤔. So we created chaos in other ways — petting zoo animals get loose and a goat rams the cake table, launching it in the air.
We couldn’t get the goat to ram the actual table and a CG goat was out of budget. We rigged the cake to blast in the air and filmed the goat running as a separate element. For more chaos I tossed in a chicken, a rabbit, and a bouncy house. It was only a 4-second shot but I wanted to do everything I could to distract from the lack of children. And once I was in After Effects, I fixed a bunch of other things I didn’t like about the shot that you see in my breakdown.
In this carousel:
1. VFX Breakdown of Cakesplosion
2. The final “Birthday” spot
3. The “Dinner” spot w/boards
4. My CG render of the goat
5. The Cannon that Flipped the Table
6. Our Technodolly
7. The Goat Running
8. Testing a Chicken Toss
9. Blasting the Blender
10. Positioning the Camera
All in all a fun and less-messy-than-you'd-expect day!
ProdCo: @artclasscontent
Managing Director: @kirstenarongino
Executive Producer: @lsg.me and @citizeno
Producer: @kellyman
1st AD: @shadybrady66
DP: @bryantjansen
Production Manager: Christina Jurado
Production Designer: @andreandrealeigh
Stylist: Karen Mann
Storyboards: @julietadelapazobercie
Cast: @iamstephaune @sabrinajrudolph and @zoleeg
THINKING IN LAYERS
No matter the size of the shoot, I'm always thinking about how Visual Effects can help to accomplish or improve every shot. To me VFX is just splitting your shot into elements on set and putting them back together in post.
For this Capital One shoot the concept was that a dad at his kid’s birthday party is so happy with the Capital One app that he’s oblivious to the chaos around him. This was a SAG shoot and we could only afford one actor, which meant no kids at the kids birthday party 🤔. So we created chaos in other ways — petting zoo animals get loose and a goat rams the cake table, launching it in the air.
We couldn’t get the goat to ram the actual table and a CG goat was out of budget. We rigged the cake to blast in the air and filmed the goat running as a separate element. For more chaos I tossed in a chicken, a rabbit, and a bouncy house. It was only a 4-second shot but I wanted to do everything I could to distract from the lack of children. And once I was in After Effects, I fixed a bunch of other things I didn’t like about the shot that you see in my breakdown.
In this carousel:
1. VFX Breakdown of Cakesplosion
2. The final “Birthday” spot
3. The “Dinner” spot w/boards
4. My CG render of the goat
5. The Cannon that Flipped the Table
6. Our Technodolly
7. The Goat Running
8. Testing a Chicken Toss
9. Blasting the Blender
10. Positioning the Camera
All in all a fun and less-messy-than-you'd-expect day!
ProdCo: @artclasscontent
Managing Director: @kirstenarongino
Executive Producer: @lsg.me and @citizeno
Producer: @kellyman
1st AD: @shadybrady66
DP: @bryantjansen
Production Manager: Christina Jurado
Production Designer: @andreandrealeigh
Stylist: Karen Mann
Storyboards: @julietadelapazobercie
Cast: @iamstephaune @sabrinajrudolph and @zoleeg
THINKING IN LAYERS
No matter the size of the shoot, I'm always thinking about how Visual Effects can help to accomplish or improve every shot. To me VFX is just splitting your shot into elements on set and putting them back together in post.
For this Capital One shoot the concept was that a dad at his kid’s birthday party is so happy with the Capital One app that he’s oblivious to the chaos around him. This was a SAG shoot and we could only afford one actor, which meant no kids at the kids birthday party 🤔. So we created chaos in other ways — petting zoo animals get loose and a goat rams the cake table, launching it in the air.
We couldn’t get the goat to ram the actual table and a CG goat was out of budget. We rigged the cake to blast in the air and filmed the goat running as a separate element. For more chaos I tossed in a chicken, a rabbit, and a bouncy house. It was only a 4-second shot but I wanted to do everything I could to distract from the lack of children. And once I was in After Effects, I fixed a bunch of other things I didn’t like about the shot that you see in my breakdown.
In this carousel:
1. VFX Breakdown of Cakesplosion
2. The final “Birthday” spot
3. The “Dinner” spot w/boards
4. My CG render of the goat
5. The Cannon that Flipped the Table
6. Our Technodolly
7. The Goat Running
8. Testing a Chicken Toss
9. Blasting the Blender
10. Positioning the Camera
All in all a fun and less-messy-than-you'd-expect day!
ProdCo: @artclasscontent
Managing Director: @kirstenarongino
Executive Producer: @lsg.me and @citizeno
Producer: @kellyman
1st AD: @shadybrady66
DP: @bryantjansen
Production Manager: Christina Jurado
Production Designer: @andreandrealeigh
Stylist: Karen Mann
Storyboards: @julietadelapazobercie
Cast: @iamstephaune @sabrinajrudolph and @zoleeg
THINKING IN LAYERS
No matter the size of the shoot, I'm always thinking about how Visual Effects can help to accomplish or improve every shot. To me VFX is just splitting your shot into elements on set and putting them back together in post.
For this Capital One shoot the concept was that a dad at his kid’s birthday party is so happy with the Capital One app that he’s oblivious to the chaos around him. This was a SAG shoot and we could only afford one actor, which meant no kids at the kids birthday party 🤔. So we created chaos in other ways — petting zoo animals get loose and a goat rams the cake table, launching it in the air.
We couldn’t get the goat to ram the actual table and a CG goat was out of budget. We rigged the cake to blast in the air and filmed the goat running as a separate element. For more chaos I tossed in a chicken, a rabbit, and a bouncy house. It was only a 4-second shot but I wanted to do everything I could to distract from the lack of children. And once I was in After Effects, I fixed a bunch of other things I didn’t like about the shot that you see in my breakdown.
In this carousel:
1. VFX Breakdown of Cakesplosion
2. The final “Birthday” spot
3. The “Dinner” spot w/boards
4. My CG render of the goat
5. The Cannon that Flipped the Table
6. Our Technodolly
7. The Goat Running
8. Testing a Chicken Toss
9. Blasting the Blender
10. Positioning the Camera
All in all a fun and less-messy-than-you'd-expect day!
ProdCo: @artclasscontent
Managing Director: @kirstenarongino
Executive Producer: @lsg.me and @citizeno
Producer: @kellyman
1st AD: @shadybrady66
DP: @bryantjansen
Production Manager: Christina Jurado
Production Designer: @andreandrealeigh
Stylist: Karen Mann
Storyboards: @julietadelapazobercie
Cast: @iamstephaune @sabrinajrudolph and @zoleeg
Another great @tropicalsmoothiecafe spot from Dir. Oren Kaplan
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Stay tuned for more...
Agency: @3headedmonsterdtx
Director: @okaplan
MP: @geno_imbriale
Managing Director: @kirstenarongino
HoP: @sparkjones13
Executive Producer: @lsg.me
Staff Producer: @oliviapossino
Staff Coordinator: @shaydanmk
Line Producer: @kellyman
1st AD: @shadybrady66
DP: @davidvollrath
Key Grip: @jcoynetoo
Production Manager: Christina Jurado
Production Coordinator: Caitlyn Silkey
Production Designer: Dave Corey
Food Stylist: Tyna Hoang
Stylist: @dianadilllon
Key Makeup: @howfastdoesitgo
2024 BY THE NUMBERS
It was an odd year for Film & TV, but commercials were nicely consistent. I kept track of my various jobs and thought it might be interesting for others to see? At the very least it’s a self-indulgent journal entry to look back at my year.
These numbers are slightly revealing, but in a very opaque industry, I would love to see more of this type of information out there. So here are my personal numbers from 2024 —
WORK DONE
17 Projects
32 Shoot Days
4 countries / 3 states / 2 continents
11 Shoots in Los Angeles! (my favorite)
86 actors / 23 dogs / 9 cats / 2 chickens / 2 rabbits / 1 goat / 1 mini pig
2 Times cast my wife, @karaluiz
11 Shoots on Alexa35 / 2 Sony Venice / 1 each: FX3, Alexa Mini, Phantom, C300, iPhone
WORK TO GET WORK
32 Pitches (job opportunities)
18 Awards (aka ‘pitches won’ / 3 ended up not shooting)
24 Treatments (pitch decks made)
12 Lost Treatments (~360 hours of unpaid work)
PEOPLE I GOT TO WORK WITH
11 Producers (6 for the first time)
14 Cinematographers (11 first time)
14 Production Designers (10 first time)
12 1st Assistant Directors (8 first time)
THE PODCAST, @justshootitpod
52 Episodes Released
2 Live Shows
1 Co-Host, @MrMattEnlow
I had lots of incredible production partners this year - @artclass @undivided @sawhorsela @paramount @116_pictures @nikkiweissandco @we_are_simpatico @julietadelapazobercie @kellyman @shadybrady66 @blakebehnam @lsg.me @kirstenarongino @mikesimpsondop @andrepienaardp @paolatrulin @alangwiz @alexmtz @mazmakhani_dp @stephen_mcgehee @drew__lauer @newmanbryan @bryantjansen @jeffreysantos_ @mikeistheboss @patrick_jones @davidrom_dop @some_things @lightningbanana @noellelleon @yesyourgrace_ @andreandrealeigh @hannahcarlene @maryruthcasting @bramli @alexanderarmero @vanessaparkerfoodstylist @ginger.williams @metrockfu @joshuajpowers @rebeccaniles @katgarelli @allisondrye @t_pap @frnnnnnnnm @hyperfmi @yakuzer @thatjordanbrady @nkbrenton @captainjennifer @alejcali @purplehayes19 @marisolsahagun - and so many talented agency creatives as well!
BRANDING & CROWDED LOCATIONS
For this Super Bowl campaign we wanted to tie the Paramount family of networks to this once-a-year humongous sporting event. But how could we make football feel uniquely Paramount? It's such a big brand that spans dramas, sports, kids, reality, news and so much more that it was difficult to identify the unique elements that scream Paramount. So instead we tried to insert as much IP as we could without being ridiculous — except for in the kids’ room. There we decided everything was fair game because kids are crazy.
Also, slime. It screams Nickelodeon and is a great example of incredible off-kilter branding that they’ve maintained over decades of being on the air.
With that in mind, you can see some of the various IP elements we managed to sneak in. Many more didn't make the cut.
LOCATION SIZE & STEADICAMS
Originally I wanted a huge house to make life easy for production. But after scouting some I switched to looking for cozier homes to make our cast of 20 featured partygoers fill up three rooms. I was taking a lot of inspiration from The Bear and Scorsese in terms of using a moving camera in tight quarters to artificially generate a feeling of crowded hustle & bustle. I figured if we had a small kitchen 4 people could fill it up, then I took all our kids (6) and spread them out in the play room with our fun uncle character, which left me 8 folks for the living room couch + 2 floaters. I put mom, the daughter, a kid, two party guests, dad, and fun uncle all in motion so that I could rationalize seeing them in multiple rooms.
You can see in my board breakdown how early I'm thinking of where everyone goes. Shout out to @julietadelapazobercie for her beautiful boards.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @julietadelapazobercie
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycore
BRANDING & CROWDED LOCATIONS
For this Super Bowl campaign we wanted to tie the Paramount family of networks to this once-a-year humongous sporting event. But how could we make football feel uniquely Paramount? It's such a big brand that spans dramas, sports, kids, reality, news and so much more that it was difficult to identify the unique elements that scream Paramount. So instead we tried to insert as much IP as we could without being ridiculous — except for in the kids’ room. There we decided everything was fair game because kids are crazy.
Also, slime. It screams Nickelodeon and is a great example of incredible off-kilter branding that they’ve maintained over decades of being on the air.
With that in mind, you can see some of the various IP elements we managed to sneak in. Many more didn't make the cut.
LOCATION SIZE & STEADICAMS
Originally I wanted a huge house to make life easy for production. But after scouting some I switched to looking for cozier homes to make our cast of 20 featured partygoers fill up three rooms. I was taking a lot of inspiration from The Bear and Scorsese in terms of using a moving camera in tight quarters to artificially generate a feeling of crowded hustle & bustle. I figured if we had a small kitchen 4 people could fill it up, then I took all our kids (6) and spread them out in the play room with our fun uncle character, which left me 8 folks for the living room couch + 2 floaters. I put mom, the daughter, a kid, two party guests, dad, and fun uncle all in motion so that I could rationalize seeing them in multiple rooms.
You can see in my board breakdown how early I'm thinking of where everyone goes. Shout out to @julietadelapazobercie for her beautiful boards.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @julietadelapazobercie
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycore
BRANDING & CROWDED LOCATIONS
For this Super Bowl campaign we wanted to tie the Paramount family of networks to this once-a-year humongous sporting event. But how could we make football feel uniquely Paramount? It's such a big brand that spans dramas, sports, kids, reality, news and so much more that it was difficult to identify the unique elements that scream Paramount. So instead we tried to insert as much IP as we could without being ridiculous — except for in the kids’ room. There we decided everything was fair game because kids are crazy.
Also, slime. It screams Nickelodeon and is a great example of incredible off-kilter branding that they’ve maintained over decades of being on the air.
With that in mind, you can see some of the various IP elements we managed to sneak in. Many more didn't make the cut.
LOCATION SIZE & STEADICAMS
Originally I wanted a huge house to make life easy for production. But after scouting some I switched to looking for cozier homes to make our cast of 20 featured partygoers fill up three rooms. I was taking a lot of inspiration from The Bear and Scorsese in terms of using a moving camera in tight quarters to artificially generate a feeling of crowded hustle & bustle. I figured if we had a small kitchen 4 people could fill it up, then I took all our kids (6) and spread them out in the play room with our fun uncle character, which left me 8 folks for the living room couch + 2 floaters. I put mom, the daughter, a kid, two party guests, dad, and fun uncle all in motion so that I could rationalize seeing them in multiple rooms.
You can see in my board breakdown how early I'm thinking of where everyone goes. Shout out to @julietadelapazobercie for her beautiful boards.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @julietadelapazobercie
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycore
BRANDING & CROWDED LOCATIONS
For this Super Bowl campaign we wanted to tie the Paramount family of networks to this once-a-year humongous sporting event. But how could we make football feel uniquely Paramount? It's such a big brand that spans dramas, sports, kids, reality, news and so much more that it was difficult to identify the unique elements that scream Paramount. So instead we tried to insert as much IP as we could without being ridiculous — except for in the kids’ room. There we decided everything was fair game because kids are crazy.
Also, slime. It screams Nickelodeon and is a great example of incredible off-kilter branding that they’ve maintained over decades of being on the air.
With that in mind, you can see some of the various IP elements we managed to sneak in. Many more didn't make the cut.
LOCATION SIZE & STEADICAMS
Originally I wanted a huge house to make life easy for production. But after scouting some I switched to looking for cozier homes to make our cast of 20 featured partygoers fill up three rooms. I was taking a lot of inspiration from The Bear and Scorsese in terms of using a moving camera in tight quarters to artificially generate a feeling of crowded hustle & bustle. I figured if we had a small kitchen 4 people could fill it up, then I took all our kids (6) and spread them out in the play room with our fun uncle character, which left me 8 folks for the living room couch + 2 floaters. I put mom, the daughter, a kid, two party guests, dad, and fun uncle all in motion so that I could rationalize seeing them in multiple rooms.
You can see in my board breakdown how early I'm thinking of where everyone goes. Shout out to @julietadelapazobercie for her beautiful boards.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @julietadelapazobercie
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycore
BRANDING & CROWDED LOCATIONS
For this Super Bowl campaign we wanted to tie the Paramount family of networks to this once-a-year humongous sporting event. But how could we make football feel uniquely Paramount? It's such a big brand that spans dramas, sports, kids, reality, news and so much more that it was difficult to identify the unique elements that scream Paramount. So instead we tried to insert as much IP as we could without being ridiculous — except for in the kids’ room. There we decided everything was fair game because kids are crazy.
Also, slime. It screams Nickelodeon and is a great example of incredible off-kilter branding that they’ve maintained over decades of being on the air.
With that in mind, you can see some of the various IP elements we managed to sneak in. Many more didn't make the cut.
LOCATION SIZE & STEADICAMS
Originally I wanted a huge house to make life easy for production. But after scouting some I switched to looking for cozier homes to make our cast of 20 featured partygoers fill up three rooms. I was taking a lot of inspiration from The Bear and Scorsese in terms of using a moving camera in tight quarters to artificially generate a feeling of crowded hustle & bustle. I figured if we had a small kitchen 4 people could fill it up, then I took all our kids (6) and spread them out in the play room with our fun uncle character, which left me 8 folks for the living room couch + 2 floaters. I put mom, the daughter, a kid, two party guests, dad, and fun uncle all in motion so that I could rationalize seeing them in multiple rooms.
You can see in my board breakdown how early I'm thinking of where everyone goes. Shout out to @julietadelapazobercie for her beautiful boards.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @julietadelapazobercie
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycore
BRANDING & CROWDED LOCATIONS
For this Super Bowl campaign we wanted to tie the Paramount family of networks to this once-a-year humongous sporting event. But how could we make football feel uniquely Paramount? It's such a big brand that spans dramas, sports, kids, reality, news and so much more that it was difficult to identify the unique elements that scream Paramount. So instead we tried to insert as much IP as we could without being ridiculous — except for in the kids’ room. There we decided everything was fair game because kids are crazy.
Also, slime. It screams Nickelodeon and is a great example of incredible off-kilter branding that they’ve maintained over decades of being on the air.
With that in mind, you can see some of the various IP elements we managed to sneak in. Many more didn't make the cut.
LOCATION SIZE & STEADICAMS
Originally I wanted a huge house to make life easy for production. But after scouting some I switched to looking for cozier homes to make our cast of 20 featured partygoers fill up three rooms. I was taking a lot of inspiration from The Bear and Scorsese in terms of using a moving camera in tight quarters to artificially generate a feeling of crowded hustle & bustle. I figured if we had a small kitchen 4 people could fill it up, then I took all our kids (6) and spread them out in the play room with our fun uncle character, which left me 8 folks for the living room couch + 2 floaters. I put mom, the daughter, a kid, two party guests, dad, and fun uncle all in motion so that I could rationalize seeing them in multiple rooms.
You can see in my board breakdown how early I'm thinking of where everyone goes. Shout out to @julietadelapazobercie for her beautiful boards.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @julietadelapazobercie
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycore
BRANDING & CROWDED LOCATIONS
For this Super Bowl campaign we wanted to tie the Paramount family of networks to this once-a-year humongous sporting event. But how could we make football feel uniquely Paramount? It's such a big brand that spans dramas, sports, kids, reality, news and so much more that it was difficult to identify the unique elements that scream Paramount. So instead we tried to insert as much IP as we could without being ridiculous — except for in the kids’ room. There we decided everything was fair game because kids are crazy.
Also, slime. It screams Nickelodeon and is a great example of incredible off-kilter branding that they’ve maintained over decades of being on the air.
With that in mind, you can see some of the various IP elements we managed to sneak in. Many more didn't make the cut.
LOCATION SIZE & STEADICAMS
Originally I wanted a huge house to make life easy for production. But after scouting some I switched to looking for cozier homes to make our cast of 20 featured partygoers fill up three rooms. I was taking a lot of inspiration from The Bear and Scorsese in terms of using a moving camera in tight quarters to artificially generate a feeling of crowded hustle & bustle. I figured if we had a small kitchen 4 people could fill it up, then I took all our kids (6) and spread them out in the play room with our fun uncle character, which left me 8 folks for the living room couch + 2 floaters. I put mom, the daughter, a kid, two party guests, dad, and fun uncle all in motion so that I could rationalize seeing them in multiple rooms.
You can see in my board breakdown how early I'm thinking of where everyone goes. Shout out to @julietadelapazobercie for her beautiful boards.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @julietadelapazobercie
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycore
BRANDING & CROWDED LOCATIONS
For this Super Bowl campaign we wanted to tie the Paramount family of networks to this once-a-year humongous sporting event. But how could we make football feel uniquely Paramount? It's such a big brand that spans dramas, sports, kids, reality, news and so much more that it was difficult to identify the unique elements that scream Paramount. So instead we tried to insert as much IP as we could without being ridiculous — except for in the kids’ room. There we decided everything was fair game because kids are crazy.
Also, slime. It screams Nickelodeon and is a great example of incredible off-kilter branding that they’ve maintained over decades of being on the air.
With that in mind, you can see some of the various IP elements we managed to sneak in. Many more didn't make the cut.
LOCATION SIZE & STEADICAMS
Originally I wanted a huge house to make life easy for production. But after scouting some I switched to looking for cozier homes to make our cast of 20 featured partygoers fill up three rooms. I was taking a lot of inspiration from The Bear and Scorsese in terms of using a moving camera in tight quarters to artificially generate a feeling of crowded hustle & bustle. I figured if we had a small kitchen 4 people could fill it up, then I took all our kids (6) and spread them out in the play room with our fun uncle character, which left me 8 folks for the living room couch + 2 floaters. I put mom, the daughter, a kid, two party guests, dad, and fun uncle all in motion so that I could rationalize seeing them in multiple rooms.
You can see in my board breakdown how early I'm thinking of where everyone goes. Shout out to @julietadelapazobercie for her beautiful boards.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @julietadelapazobercie
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycore
BRANDING & CROWDED LOCATIONS
For this Super Bowl campaign we wanted to tie the Paramount family of networks to this once-a-year humongous sporting event. But how could we make football feel uniquely Paramount? It's such a big brand that spans dramas, sports, kids, reality, news and so much more that it was difficult to identify the unique elements that scream Paramount. So instead we tried to insert as much IP as we could without being ridiculous — except for in the kids’ room. There we decided everything was fair game because kids are crazy.
Also, slime. It screams Nickelodeon and is a great example of incredible off-kilter branding that they’ve maintained over decades of being on the air.
With that in mind, you can see some of the various IP elements we managed to sneak in. Many more didn't make the cut.
LOCATION SIZE & STEADICAMS
Originally I wanted a huge house to make life easy for production. But after scouting some I switched to looking for cozier homes to make our cast of 20 featured partygoers fill up three rooms. I was taking a lot of inspiration from The Bear and Scorsese in terms of using a moving camera in tight quarters to artificially generate a feeling of crowded hustle & bustle. I figured if we had a small kitchen 4 people could fill it up, then I took all our kids (6) and spread them out in the play room with our fun uncle character, which left me 8 folks for the living room couch + 2 floaters. I put mom, the daughter, a kid, two party guests, dad, and fun uncle all in motion so that I could rationalize seeing them in multiple rooms.
You can see in my board breakdown how early I'm thinking of where everyone goes. Shout out to @julietadelapazobercie for her beautiful boards.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @julietadelapazobercie
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycore
PITCHING SLIME
Usually commercials come with a script, but on occasion they arrive only with a kernel of an idea. For this “Super Bowl commercial” (not really but kind of) they asked me to pitch the script and include some storyboards, something I’m rarely responsible for at this stage. The prompt was to show the three different ways one could watch the Super Bowl at a house party. In response I made a short 42-page treatment. I’ve included my “story beats” and “storyboards” pages in this post to show what kind of detail I do and don’t go into.
As a joke I mentioned that we could maybe slime our kids at the end of the script and the creative director I was pitching to asked, “Why is that a joke? Let’s do it!” At first it felt tonally out-of-left-field to me, but the more I thought about it the more I realized that’s the entire voice of Nickelodeon — you think one kind of normal thing is happening and then out of nowhere, SLIME! It changed the entire approach, but it was by far the highlight of the shoot.
An interesting thing about slime is that whatever it touches it destroys. So we had to build an entire kids’ playroom from scratch that could all be thrown into the trash after the slime blast. We also were limited to sliming 3 people and had to capture it in a single take.
When we filmed this we had no idea who was going to be playing in the Super Bowl, so we waited until the last minute to insert the 49ers and Chiefs football footage into the screens. We finished just in time for it to air during the Grammy’s.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @bombshell_comics
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycorey
PITCHING SLIME
Usually commercials come with a script, but on occasion they arrive only with a kernel of an idea. For this “Super Bowl commercial” (not really but kind of) they asked me to pitch the script and include some storyboards, something I’m rarely responsible for at this stage. The prompt was to show the three different ways one could watch the Super Bowl at a house party. In response I made a short 42-page treatment. I’ve included my “story beats” and “storyboards” pages in this post to show what kind of detail I do and don’t go into.
As a joke I mentioned that we could maybe slime our kids at the end of the script and the creative director I was pitching to asked, “Why is that a joke? Let’s do it!” At first it felt tonally out-of-left-field to me, but the more I thought about it the more I realized that’s the entire voice of Nickelodeon — you think one kind of normal thing is happening and then out of nowhere, SLIME! It changed the entire approach, but it was by far the highlight of the shoot.
An interesting thing about slime is that whatever it touches it destroys. So we had to build an entire kids’ playroom from scratch that could all be thrown into the trash after the slime blast. We also were limited to sliming 3 people and had to capture it in a single take.
When we filmed this we had no idea who was going to be playing in the Super Bowl, so we waited until the last minute to insert the 49ers and Chiefs football footage into the screens. We finished just in time for it to air during the Grammy’s.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @bombshell_comics
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycorey
PITCHING SLIME
Usually commercials come with a script, but on occasion they arrive only with a kernel of an idea. For this “Super Bowl commercial” (not really but kind of) they asked me to pitch the script and include some storyboards, something I’m rarely responsible for at this stage. The prompt was to show the three different ways one could watch the Super Bowl at a house party. In response I made a short 42-page treatment. I’ve included my “story beats” and “storyboards” pages in this post to show what kind of detail I do and don’t go into.
As a joke I mentioned that we could maybe slime our kids at the end of the script and the creative director I was pitching to asked, “Why is that a joke? Let’s do it!” At first it felt tonally out-of-left-field to me, but the more I thought about it the more I realized that’s the entire voice of Nickelodeon — you think one kind of normal thing is happening and then out of nowhere, SLIME! It changed the entire approach, but it was by far the highlight of the shoot.
An interesting thing about slime is that whatever it touches it destroys. So we had to build an entire kids’ playroom from scratch that could all be thrown into the trash after the slime blast. We also were limited to sliming 3 people and had to capture it in a single take.
When we filmed this we had no idea who was going to be playing in the Super Bowl, so we waited until the last minute to insert the 49ers and Chiefs football footage into the screens. We finished just in time for it to air during the Grammy’s.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @bombshell_comics
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycorey
PITCHING SLIME
Usually commercials come with a script, but on occasion they arrive only with a kernel of an idea. For this “Super Bowl commercial” (not really but kind of) they asked me to pitch the script and include some storyboards, something I’m rarely responsible for at this stage. The prompt was to show the three different ways one could watch the Super Bowl at a house party. In response I made a short 42-page treatment. I’ve included my “story beats” and “storyboards” pages in this post to show what kind of detail I do and don’t go into.
As a joke I mentioned that we could maybe slime our kids at the end of the script and the creative director I was pitching to asked, “Why is that a joke? Let’s do it!” At first it felt tonally out-of-left-field to me, but the more I thought about it the more I realized that’s the entire voice of Nickelodeon — you think one kind of normal thing is happening and then out of nowhere, SLIME! It changed the entire approach, but it was by far the highlight of the shoot.
An interesting thing about slime is that whatever it touches it destroys. So we had to build an entire kids’ playroom from scratch that could all be thrown into the trash after the slime blast. We also were limited to sliming 3 people and had to capture it in a single take.
When we filmed this we had no idea who was going to be playing in the Super Bowl, so we waited until the last minute to insert the 49ers and Chiefs football footage into the screens. We finished just in time for it to air during the Grammy’s.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @bombshell_comics
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycorey
PITCHING SLIME
Usually commercials come with a script, but on occasion they arrive only with a kernel of an idea. For this “Super Bowl commercial” (not really but kind of) they asked me to pitch the script and include some storyboards, something I’m rarely responsible for at this stage. The prompt was to show the three different ways one could watch the Super Bowl at a house party. In response I made a short 42-page treatment. I’ve included my “story beats” and “storyboards” pages in this post to show what kind of detail I do and don’t go into.
As a joke I mentioned that we could maybe slime our kids at the end of the script and the creative director I was pitching to asked, “Why is that a joke? Let’s do it!” At first it felt tonally out-of-left-field to me, but the more I thought about it the more I realized that’s the entire voice of Nickelodeon — you think one kind of normal thing is happening and then out of nowhere, SLIME! It changed the entire approach, but it was by far the highlight of the shoot.
An interesting thing about slime is that whatever it touches it destroys. So we had to build an entire kids’ playroom from scratch that could all be thrown into the trash after the slime blast. We also were limited to sliming 3 people and had to capture it in a single take.
When we filmed this we had no idea who was going to be playing in the Super Bowl, so we waited until the last minute to insert the 49ers and Chiefs football footage into the screens. We finished just in time for it to air during the Grammy’s.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @bombshell_comics
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycorey
PITCHING SLIME
Usually commercials come with a script, but on occasion they arrive only with a kernel of an idea. For this “Super Bowl commercial” (not really but kind of) they asked me to pitch the script and include some storyboards, something I’m rarely responsible for at this stage. The prompt was to show the three different ways one could watch the Super Bowl at a house party. In response I made a short 42-page treatment. I’ve included my “story beats” and “storyboards” pages in this post to show what kind of detail I do and don’t go into.
As a joke I mentioned that we could maybe slime our kids at the end of the script and the creative director I was pitching to asked, “Why is that a joke? Let’s do it!” At first it felt tonally out-of-left-field to me, but the more I thought about it the more I realized that’s the entire voice of Nickelodeon — you think one kind of normal thing is happening and then out of nowhere, SLIME! It changed the entire approach, but it was by far the highlight of the shoot.
An interesting thing about slime is that whatever it touches it destroys. So we had to build an entire kids’ playroom from scratch that could all be thrown into the trash after the slime blast. We also were limited to sliming 3 people and had to capture it in a single take.
When we filmed this we had no idea who was going to be playing in the Super Bowl, so we waited until the last minute to insert the 49ers and Chiefs football footage into the screens. We finished just in time for it to air during the Grammy’s.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @bombshell_comics
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycorey
PITCHING SLIME
Usually commercials come with a script, but on occasion they arrive only with a kernel of an idea. For this “Super Bowl commercial” (not really but kind of) they asked me to pitch the script and include some storyboards, something I’m rarely responsible for at this stage. The prompt was to show the three different ways one could watch the Super Bowl at a house party. In response I made a short 42-page treatment. I’ve included my “story beats” and “storyboards” pages in this post to show what kind of detail I do and don’t go into.
As a joke I mentioned that we could maybe slime our kids at the end of the script and the creative director I was pitching to asked, “Why is that a joke? Let’s do it!” At first it felt tonally out-of-left-field to me, but the more I thought about it the more I realized that’s the entire voice of Nickelodeon — you think one kind of normal thing is happening and then out of nowhere, SLIME! It changed the entire approach, but it was by far the highlight of the shoot.
An interesting thing about slime is that whatever it touches it destroys. So we had to build an entire kids’ playroom from scratch that could all be thrown into the trash after the slime blast. We also were limited to sliming 3 people and had to capture it in a single take.
When we filmed this we had no idea who was going to be playing in the Super Bowl, so we waited until the last minute to insert the 49ers and Chiefs football footage into the screens. We finished just in time for it to air during the Grammy’s.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @bombshell_comics
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycorey
PITCHING SLIME
Usually commercials come with a script, but on occasion they arrive only with a kernel of an idea. For this “Super Bowl commercial” (not really but kind of) they asked me to pitch the script and include some storyboards, something I’m rarely responsible for at this stage. The prompt was to show the three different ways one could watch the Super Bowl at a house party. In response I made a short 42-page treatment. I’ve included my “story beats” and “storyboards” pages in this post to show what kind of detail I do and don’t go into.
As a joke I mentioned that we could maybe slime our kids at the end of the script and the creative director I was pitching to asked, “Why is that a joke? Let’s do it!” At first it felt tonally out-of-left-field to me, but the more I thought about it the more I realized that’s the entire voice of Nickelodeon — you think one kind of normal thing is happening and then out of nowhere, SLIME! It changed the entire approach, but it was by far the highlight of the shoot.
An interesting thing about slime is that whatever it touches it destroys. So we had to build an entire kids’ playroom from scratch that could all be thrown into the trash after the slime blast. We also were limited to sliming 3 people and had to capture it in a single take.
When we filmed this we had no idea who was going to be playing in the Super Bowl, so we waited until the last minute to insert the 49ers and Chiefs football footage into the screens. We finished just in time for it to air during the Grammy’s.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @bombshell_comics
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycorey
PITCHING SLIME
Usually commercials come with a script, but on occasion they arrive only with a kernel of an idea. For this “Super Bowl commercial” (not really but kind of) they asked me to pitch the script and include some storyboards, something I’m rarely responsible for at this stage. The prompt was to show the three different ways one could watch the Super Bowl at a house party. In response I made a short 42-page treatment. I’ve included my “story beats” and “storyboards” pages in this post to show what kind of detail I do and don’t go into.
As a joke I mentioned that we could maybe slime our kids at the end of the script and the creative director I was pitching to asked, “Why is that a joke? Let’s do it!” At first it felt tonally out-of-left-field to me, but the more I thought about it the more I realized that’s the entire voice of Nickelodeon — you think one kind of normal thing is happening and then out of nowhere, SLIME! It changed the entire approach, but it was by far the highlight of the shoot.
An interesting thing about slime is that whatever it touches it destroys. So we had to build an entire kids’ playroom from scratch that could all be thrown into the trash after the slime blast. We also were limited to sliming 3 people and had to capture it in a single take.
When we filmed this we had no idea who was going to be playing in the Super Bowl, so we waited until the last minute to insert the 49ers and Chiefs football footage into the screens. We finished just in time for it to air during the Grammy’s.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @bombshell_comics
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycorey
PITCHING SLIME
Usually commercials come with a script, but on occasion they arrive only with a kernel of an idea. For this “Super Bowl commercial” (not really but kind of) they asked me to pitch the script and include some storyboards, something I’m rarely responsible for at this stage. The prompt was to show the three different ways one could watch the Super Bowl at a house party. In response I made a short 42-page treatment. I’ve included my “story beats” and “storyboards” pages in this post to show what kind of detail I do and don’t go into.
As a joke I mentioned that we could maybe slime our kids at the end of the script and the creative director I was pitching to asked, “Why is that a joke? Let’s do it!” At first it felt tonally out-of-left-field to me, but the more I thought about it the more I realized that’s the entire voice of Nickelodeon — you think one kind of normal thing is happening and then out of nowhere, SLIME! It changed the entire approach, but it was by far the highlight of the shoot.
An interesting thing about slime is that whatever it touches it destroys. So we had to build an entire kids’ playroom from scratch that could all be thrown into the trash after the slime blast. We also were limited to sliming 3 people and had to capture it in a single take.
When we filmed this we had no idea who was going to be playing in the Super Bowl, so we waited until the last minute to insert the 49ers and Chiefs football footage into the screens. We finished just in time for it to air during the Grammy’s.
ProdCo: @paramountco
Producer: @allisondrye
HoP: @joshuajpowers
Creative: Vincent Arrico
Boards: @bombshell_comics
CD: @dpdcasting
DP: @mikesimpsondop
PD: John Richards
AD: @alexanderarmero
Post: @theshoptrailers
Music: @wearedelasoul
Color: @hey_bt @tbdpost
Cast: @angelicaangieang @bruceclifford_ @itsmaurielle @akatonylombard @jomarie_lawrence @isaarojaas @erica.starrparrish @itsayumi.duh @adrianarodriguezburciaga @iamjohnniemack @dylan_r_bel @goldenboycorey
FILLING THE FRAME
Sometimes you just need to fill the frame. One way to do this is with big vehicles. For the this @dish_outdoors campaign with @martysmithespn, we needed a tailgate scene and a campground scene. Having to film both in one day, we settled on a public park with a small lake and a parking lot to serve as our two backdrops.
A tailgate needs lots of vehicles, but you can cheat it with two RVs, a pick-up truck, a few tents, and some crew cars. We only had 3 extras, so we needed to use the cars to make things look busier. For our tailgate we grabbed a couple crew vehicles and placed them both in the background and foreground. Finding other elements to create layers with (like a grill, corn hole area, and tables) helped create the illusion that there was more going on than an empty parking lot. Look carefully and you can see how often I reused the same background folks (aka extras) to fill the frame.
For camping I found a part of the lake with some tall grass and a tree next to it. We parked our RV up against the water and our designer @jerrythemovieguy brought some mulch from Home Depot to cover the sidewalk, which helped sell that we weren’t at a city park.
Extra kudos to @derekjziegler who plays the guy choosing between the hamburger and the hotdog. He was a listener of @justshootitpod and didn’t mention it at the audition or callback… he politely waited until we were on set. If I were him, I would’ve mentioned it right out of the gate to get an edge on the role. It never hurts to flatter the director!
In this carousel:
1. Boards for “It’s All Good”
2. Boards for “Why Choose?”
3. How I reuse actors
4. My ugly boards
5. Planning vehicle placement
6. Looking at the frame
7. Designing our “campsite”
8. Another selfie (with just enough mulch to fill the frame)
Cast: @martysmithespn, @derekjziegler, @theactormanessex, @impaigehamilton, @stevenrcrowley
Client: @dish
Agency: @espn
Prodco: @ArtClassContent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
FILLING THE FRAME
Sometimes you just need to fill the frame. One way to do this is with big vehicles. For the this @dish_outdoors campaign with @martysmithespn, we needed a tailgate scene and a campground scene. Having to film both in one day, we settled on a public park with a small lake and a parking lot to serve as our two backdrops.
A tailgate needs lots of vehicles, but you can cheat it with two RVs, a pick-up truck, a few tents, and some crew cars. We only had 3 extras, so we needed to use the cars to make things look busier. For our tailgate we grabbed a couple crew vehicles and placed them both in the background and foreground. Finding other elements to create layers with (like a grill, corn hole area, and tables) helped create the illusion that there was more going on than an empty parking lot. Look carefully and you can see how often I reused the same background folks (aka extras) to fill the frame.
For camping I found a part of the lake with some tall grass and a tree next to it. We parked our RV up against the water and our designer @jerrythemovieguy brought some mulch from Home Depot to cover the sidewalk, which helped sell that we weren’t at a city park.
Extra kudos to @derekjziegler who plays the guy choosing between the hamburger and the hotdog. He was a listener of @justshootitpod and didn’t mention it at the audition or callback… he politely waited until we were on set. If I were him, I would’ve mentioned it right out of the gate to get an edge on the role. It never hurts to flatter the director!
In this carousel:
1. Boards for “It’s All Good”
2. Boards for “Why Choose?”
3. How I reuse actors
4. My ugly boards
5. Planning vehicle placement
6. Looking at the frame
7. Designing our “campsite”
8. Another selfie (with just enough mulch to fill the frame)
Cast: @martysmithespn, @derekjziegler, @theactormanessex, @impaigehamilton, @stevenrcrowley
Client: @dish
Agency: @espn
Prodco: @ArtClassContent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
FILLING THE FRAME
Sometimes you just need to fill the frame. One way to do this is with big vehicles. For the this @dish_outdoors campaign with @martysmithespn, we needed a tailgate scene and a campground scene. Having to film both in one day, we settled on a public park with a small lake and a parking lot to serve as our two backdrops.
A tailgate needs lots of vehicles, but you can cheat it with two RVs, a pick-up truck, a few tents, and some crew cars. We only had 3 extras, so we needed to use the cars to make things look busier. For our tailgate we grabbed a couple crew vehicles and placed them both in the background and foreground. Finding other elements to create layers with (like a grill, corn hole area, and tables) helped create the illusion that there was more going on than an empty parking lot. Look carefully and you can see how often I reused the same background folks (aka extras) to fill the frame.
For camping I found a part of the lake with some tall grass and a tree next to it. We parked our RV up against the water and our designer @jerrythemovieguy brought some mulch from Home Depot to cover the sidewalk, which helped sell that we weren’t at a city park.
Extra kudos to @derekjziegler who plays the guy choosing between the hamburger and the hotdog. He was a listener of @justshootitpod and didn’t mention it at the audition or callback… he politely waited until we were on set. If I were him, I would’ve mentioned it right out of the gate to get an edge on the role. It never hurts to flatter the director!
In this carousel:
1. Boards for “It’s All Good”
2. Boards for “Why Choose?”
3. How I reuse actors
4. My ugly boards
5. Planning vehicle placement
6. Looking at the frame
7. Designing our “campsite”
8. Another selfie (with just enough mulch to fill the frame)
Cast: @martysmithespn, @derekjziegler, @theactormanessex, @impaigehamilton, @stevenrcrowley
Client: @dish
Agency: @espn
Prodco: @ArtClassContent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
FILLING THE FRAME
Sometimes you just need to fill the frame. One way to do this is with big vehicles. For the this @dish_outdoors campaign with @martysmithespn, we needed a tailgate scene and a campground scene. Having to film both in one day, we settled on a public park with a small lake and a parking lot to serve as our two backdrops.
A tailgate needs lots of vehicles, but you can cheat it with two RVs, a pick-up truck, a few tents, and some crew cars. We only had 3 extras, so we needed to use the cars to make things look busier. For our tailgate we grabbed a couple crew vehicles and placed them both in the background and foreground. Finding other elements to create layers with (like a grill, corn hole area, and tables) helped create the illusion that there was more going on than an empty parking lot. Look carefully and you can see how often I reused the same background folks (aka extras) to fill the frame.
For camping I found a part of the lake with some tall grass and a tree next to it. We parked our RV up against the water and our designer @jerrythemovieguy brought some mulch from Home Depot to cover the sidewalk, which helped sell that we weren’t at a city park.
Extra kudos to @derekjziegler who plays the guy choosing between the hamburger and the hotdog. He was a listener of @justshootitpod and didn’t mention it at the audition or callback… he politely waited until we were on set. If I were him, I would’ve mentioned it right out of the gate to get an edge on the role. It never hurts to flatter the director!
In this carousel:
1. Boards for “It’s All Good”
2. Boards for “Why Choose?”
3. How I reuse actors
4. My ugly boards
5. Planning vehicle placement
6. Looking at the frame
7. Designing our “campsite”
8. Another selfie (with just enough mulch to fill the frame)
Cast: @martysmithespn, @derekjziegler, @theactormanessex, @impaigehamilton, @stevenrcrowley
Client: @dish
Agency: @espn
Prodco: @ArtClassContent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
FILLING THE FRAME
Sometimes you just need to fill the frame. One way to do this is with big vehicles. For the this @dish_outdoors campaign with @martysmithespn, we needed a tailgate scene and a campground scene. Having to film both in one day, we settled on a public park with a small lake and a parking lot to serve as our two backdrops.
A tailgate needs lots of vehicles, but you can cheat it with two RVs, a pick-up truck, a few tents, and some crew cars. We only had 3 extras, so we needed to use the cars to make things look busier. For our tailgate we grabbed a couple crew vehicles and placed them both in the background and foreground. Finding other elements to create layers with (like a grill, corn hole area, and tables) helped create the illusion that there was more going on than an empty parking lot. Look carefully and you can see how often I reused the same background folks (aka extras) to fill the frame.
For camping I found a part of the lake with some tall grass and a tree next to it. We parked our RV up against the water and our designer @jerrythemovieguy brought some mulch from Home Depot to cover the sidewalk, which helped sell that we weren’t at a city park.
Extra kudos to @derekjziegler who plays the guy choosing between the hamburger and the hotdog. He was a listener of @justshootitpod and didn’t mention it at the audition or callback… he politely waited until we were on set. If I were him, I would’ve mentioned it right out of the gate to get an edge on the role. It never hurts to flatter the director!
In this carousel:
1. Boards for “It’s All Good”
2. Boards for “Why Choose?”
3. How I reuse actors
4. My ugly boards
5. Planning vehicle placement
6. Looking at the frame
7. Designing our “campsite”
8. Another selfie (with just enough mulch to fill the frame)
Cast: @martysmithespn, @derekjziegler, @theactormanessex, @impaigehamilton, @stevenrcrowley
Client: @dish
Agency: @espn
Prodco: @ArtClassContent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
FILLING THE FRAME
Sometimes you just need to fill the frame. One way to do this is with big vehicles. For the this @dish_outdoors campaign with @martysmithespn, we needed a tailgate scene and a campground scene. Having to film both in one day, we settled on a public park with a small lake and a parking lot to serve as our two backdrops.
A tailgate needs lots of vehicles, but you can cheat it with two RVs, a pick-up truck, a few tents, and some crew cars. We only had 3 extras, so we needed to use the cars to make things look busier. For our tailgate we grabbed a couple crew vehicles and placed them both in the background and foreground. Finding other elements to create layers with (like a grill, corn hole area, and tables) helped create the illusion that there was more going on than an empty parking lot. Look carefully and you can see how often I reused the same background folks (aka extras) to fill the frame.
For camping I found a part of the lake with some tall grass and a tree next to it. We parked our RV up against the water and our designer @jerrythemovieguy brought some mulch from Home Depot to cover the sidewalk, which helped sell that we weren’t at a city park.
Extra kudos to @derekjziegler who plays the guy choosing between the hamburger and the hotdog. He was a listener of @justshootitpod and didn’t mention it at the audition or callback… he politely waited until we were on set. If I were him, I would’ve mentioned it right out of the gate to get an edge on the role. It never hurts to flatter the director!
In this carousel:
1. Boards for “It’s All Good”
2. Boards for “Why Choose?”
3. How I reuse actors
4. My ugly boards
5. Planning vehicle placement
6. Looking at the frame
7. Designing our “campsite”
8. Another selfie (with just enough mulch to fill the frame)
Cast: @martysmithespn, @derekjziegler, @theactormanessex, @impaigehamilton, @stevenrcrowley
Client: @dish
Agency: @espn
Prodco: @ArtClassContent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
FILLING THE FRAME
Sometimes you just need to fill the frame. One way to do this is with big vehicles. For the this @dish_outdoors campaign with @martysmithespn, we needed a tailgate scene and a campground scene. Having to film both in one day, we settled on a public park with a small lake and a parking lot to serve as our two backdrops.
A tailgate needs lots of vehicles, but you can cheat it with two RVs, a pick-up truck, a few tents, and some crew cars. We only had 3 extras, so we needed to use the cars to make things look busier. For our tailgate we grabbed a couple crew vehicles and placed them both in the background and foreground. Finding other elements to create layers with (like a grill, corn hole area, and tables) helped create the illusion that there was more going on than an empty parking lot. Look carefully and you can see how often I reused the same background folks (aka extras) to fill the frame.
For camping I found a part of the lake with some tall grass and a tree next to it. We parked our RV up against the water and our designer @jerrythemovieguy brought some mulch from Home Depot to cover the sidewalk, which helped sell that we weren’t at a city park.
Extra kudos to @derekjziegler who plays the guy choosing between the hamburger and the hotdog. He was a listener of @justshootitpod and didn’t mention it at the audition or callback… he politely waited until we were on set. If I were him, I would’ve mentioned it right out of the gate to get an edge on the role. It never hurts to flatter the director!
In this carousel:
1. Boards for “It’s All Good”
2. Boards for “Why Choose?”
3. How I reuse actors
4. My ugly boards
5. Planning vehicle placement
6. Looking at the frame
7. Designing our “campsite”
8. Another selfie (with just enough mulch to fill the frame)
Cast: @martysmithespn, @derekjziegler, @theactormanessex, @impaigehamilton, @stevenrcrowley
Client: @dish
Agency: @espn
Prodco: @ArtClassContent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
FILLING THE FRAME
Sometimes you just need to fill the frame. One way to do this is with big vehicles. For the this @dish_outdoors campaign with @martysmithespn, we needed a tailgate scene and a campground scene. Having to film both in one day, we settled on a public park with a small lake and a parking lot to serve as our two backdrops.
A tailgate needs lots of vehicles, but you can cheat it with two RVs, a pick-up truck, a few tents, and some crew cars. We only had 3 extras, so we needed to use the cars to make things look busier. For our tailgate we grabbed a couple crew vehicles and placed them both in the background and foreground. Finding other elements to create layers with (like a grill, corn hole area, and tables) helped create the illusion that there was more going on than an empty parking lot. Look carefully and you can see how often I reused the same background folks (aka extras) to fill the frame.
For camping I found a part of the lake with some tall grass and a tree next to it. We parked our RV up against the water and our designer @jerrythemovieguy brought some mulch from Home Depot to cover the sidewalk, which helped sell that we weren’t at a city park.
Extra kudos to @derekjziegler who plays the guy choosing between the hamburger and the hotdog. He was a listener of @justshootitpod and didn’t mention it at the audition or callback… he politely waited until we were on set. If I were him, I would’ve mentioned it right out of the gate to get an edge on the role. It never hurts to flatter the director!
In this carousel:
1. Boards for “It’s All Good”
2. Boards for “Why Choose?”
3. How I reuse actors
4. My ugly boards
5. Planning vehicle placement
6. Looking at the frame
7. Designing our “campsite”
8. Another selfie (with just enough mulch to fill the frame)
Cast: @martysmithespn, @derekjziegler, @theactormanessex, @impaigehamilton, @stevenrcrowley
Client: @dish
Agency: @espn
Prodco: @ArtClassContent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
COMPANY MOVES
Moving an entire crew will destroy a production day, so I always try to combine locations. But sometimes it’s not feasible. For this ESPNxDISH campaign we needed to film @chrisfowler at a house and a football stadium in the same day. While the stadium at magic hour would've been great, we couldn’t risk losing our light halfway through, so we committed to filming the stadium at night and making it feel more like an ethereal fantastical place, and also hide our empty stands.
To film quickly at the house location, I blocked all the action in the same area and got a variety of angles to mix things up. That allowed cinematographer @dougchamberlain to create one big lighting setup outside that worked for both the patio and the living room. Even though we had limited time, I tried to insert spectacle wherever I could — practical flames at the grill, a confetti canon, t-shirt launchers. Each was easily resettable by our designer @jerrythemovieguy.
SOME LESSONS
Unfortunately our plan for a football stadium with more built-in architecture didn’t materialize due to last-minute availability issues. To make up for it I tried to fill the air with haze and add light flares to minimize the stark night sky we were shooting against. Ultimately I think we got a pretty cool look and it was a great learning experience filming such a large low-elevation location at night.
In this carousel:
1. Boards for “Can’t Recall”
2. Boards for “Too Much”
3. Boards for “Mascots”
4. Mockup of flame size
5. Me with two geniuses
6. Squad
7. Rialto
8. The “TV” shot
9. T-Shirt Cannon
10. Selfie
Cast: @chrisfowler, @mnewman68, @alex_m_bedoya, michipidi, @jevonwhite, Marc Lucia, Shayla Duran
Client: @dish
Agency: @espn
Prodco: @artclasscontent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
COMPANY MOVES
Moving an entire crew will destroy a production day, so I always try to combine locations. But sometimes it’s not feasible. For this ESPNxDISH campaign we needed to film @chrisfowler at a house and a football stadium in the same day. While the stadium at magic hour would've been great, we couldn’t risk losing our light halfway through, so we committed to filming the stadium at night and making it feel more like an ethereal fantastical place, and also hide our empty stands.
To film quickly at the house location, I blocked all the action in the same area and got a variety of angles to mix things up. That allowed cinematographer @dougchamberlain to create one big lighting setup outside that worked for both the patio and the living room. Even though we had limited time, I tried to insert spectacle wherever I could — practical flames at the grill, a confetti canon, t-shirt launchers. Each was easily resettable by our designer @jerrythemovieguy.
SOME LESSONS
Unfortunately our plan for a football stadium with more built-in architecture didn’t materialize due to last-minute availability issues. To make up for it I tried to fill the air with haze and add light flares to minimize the stark night sky we were shooting against. Ultimately I think we got a pretty cool look and it was a great learning experience filming such a large low-elevation location at night.
In this carousel:
1. Boards for “Can’t Recall”
2. Boards for “Too Much”
3. Boards for “Mascots”
4. Mockup of flame size
5. Me with two geniuses
6. Squad
7. Rialto
8. The “TV” shot
9. T-Shirt Cannon
10. Selfie
Cast: @chrisfowler, @mnewman68, @alex_m_bedoya, michipidi, @jevonwhite, Marc Lucia, Shayla Duran
Client: @dish
Agency: @espn
Prodco: @artclasscontent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
COMPANY MOVES
Moving an entire crew will destroy a production day, so I always try to combine locations. But sometimes it’s not feasible. For this ESPNxDISH campaign we needed to film @chrisfowler at a house and a football stadium in the same day. While the stadium at magic hour would've been great, we couldn’t risk losing our light halfway through, so we committed to filming the stadium at night and making it feel more like an ethereal fantastical place, and also hide our empty stands.
To film quickly at the house location, I blocked all the action in the same area and got a variety of angles to mix things up. That allowed cinematographer @dougchamberlain to create one big lighting setup outside that worked for both the patio and the living room. Even though we had limited time, I tried to insert spectacle wherever I could — practical flames at the grill, a confetti canon, t-shirt launchers. Each was easily resettable by our designer @jerrythemovieguy.
SOME LESSONS
Unfortunately our plan for a football stadium with more built-in architecture didn’t materialize due to last-minute availability issues. To make up for it I tried to fill the air with haze and add light flares to minimize the stark night sky we were shooting against. Ultimately I think we got a pretty cool look and it was a great learning experience filming such a large low-elevation location at night.
In this carousel:
1. Boards for “Can’t Recall”
2. Boards for “Too Much”
3. Boards for “Mascots”
4. Mockup of flame size
5. Me with two geniuses
6. Squad
7. Rialto
8. The “TV” shot
9. T-Shirt Cannon
10. Selfie
Cast: @chrisfowler, @mnewman68, @alex_m_bedoya, michipidi, @jevonwhite, Marc Lucia, Shayla Duran
Client: @dish
Agency: @espn
Prodco: @artclasscontent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
COMPANY MOVES
Moving an entire crew will destroy a production day, so I always try to combine locations. But sometimes it’s not feasible. For this ESPNxDISH campaign we needed to film @chrisfowler at a house and a football stadium in the same day. While the stadium at magic hour would've been great, we couldn’t risk losing our light halfway through, so we committed to filming the stadium at night and making it feel more like an ethereal fantastical place, and also hide our empty stands.
To film quickly at the house location, I blocked all the action in the same area and got a variety of angles to mix things up. That allowed cinematographer @dougchamberlain to create one big lighting setup outside that worked for both the patio and the living room. Even though we had limited time, I tried to insert spectacle wherever I could — practical flames at the grill, a confetti canon, t-shirt launchers. Each was easily resettable by our designer @jerrythemovieguy.
SOME LESSONS
Unfortunately our plan for a football stadium with more built-in architecture didn’t materialize due to last-minute availability issues. To make up for it I tried to fill the air with haze and add light flares to minimize the stark night sky we were shooting against. Ultimately I think we got a pretty cool look and it was a great learning experience filming such a large low-elevation location at night.
In this carousel:
1. Boards for “Can’t Recall”
2. Boards for “Too Much”
3. Boards for “Mascots”
4. Mockup of flame size
5. Me with two geniuses
6. Squad
7. Rialto
8. The “TV” shot
9. T-Shirt Cannon
10. Selfie
Cast: @chrisfowler, @mnewman68, @alex_m_bedoya, michipidi, @jevonwhite, Marc Lucia, Shayla Duran
Client: @dish
Agency: @espn
Prodco: @artclasscontent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
COMPANY MOVES
Moving an entire crew will destroy a production day, so I always try to combine locations. But sometimes it’s not feasible. For this ESPNxDISH campaign we needed to film @chrisfowler at a house and a football stadium in the same day. While the stadium at magic hour would've been great, we couldn’t risk losing our light halfway through, so we committed to filming the stadium at night and making it feel more like an ethereal fantastical place, and also hide our empty stands.
To film quickly at the house location, I blocked all the action in the same area and got a variety of angles to mix things up. That allowed cinematographer @dougchamberlain to create one big lighting setup outside that worked for both the patio and the living room. Even though we had limited time, I tried to insert spectacle wherever I could — practical flames at the grill, a confetti canon, t-shirt launchers. Each was easily resettable by our designer @jerrythemovieguy.
SOME LESSONS
Unfortunately our plan for a football stadium with more built-in architecture didn’t materialize due to last-minute availability issues. To make up for it I tried to fill the air with haze and add light flares to minimize the stark night sky we were shooting against. Ultimately I think we got a pretty cool look and it was a great learning experience filming such a large low-elevation location at night.
In this carousel:
1. Boards for “Can’t Recall”
2. Boards for “Too Much”
3. Boards for “Mascots”
4. Mockup of flame size
5. Me with two geniuses
6. Squad
7. Rialto
8. The “TV” shot
9. T-Shirt Cannon
10. Selfie
Cast: @chrisfowler, @mnewman68, @alex_m_bedoya, michipidi, @jevonwhite, Marc Lucia, Shayla Duran
Client: @dish
Agency: @espn
Prodco: @artclasscontent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
COMPANY MOVES
Moving an entire crew will destroy a production day, so I always try to combine locations. But sometimes it’s not feasible. For this ESPNxDISH campaign we needed to film @chrisfowler at a house and a football stadium in the same day. While the stadium at magic hour would've been great, we couldn’t risk losing our light halfway through, so we committed to filming the stadium at night and making it feel more like an ethereal fantastical place, and also hide our empty stands.
To film quickly at the house location, I blocked all the action in the same area and got a variety of angles to mix things up. That allowed cinematographer @dougchamberlain to create one big lighting setup outside that worked for both the patio and the living room. Even though we had limited time, I tried to insert spectacle wherever I could — practical flames at the grill, a confetti canon, t-shirt launchers. Each was easily resettable by our designer @jerrythemovieguy.
SOME LESSONS
Unfortunately our plan for a football stadium with more built-in architecture didn’t materialize due to last-minute availability issues. To make up for it I tried to fill the air with haze and add light flares to minimize the stark night sky we were shooting against. Ultimately I think we got a pretty cool look and it was a great learning experience filming such a large low-elevation location at night.
In this carousel:
1. Boards for “Can’t Recall”
2. Boards for “Too Much”
3. Boards for “Mascots”
4. Mockup of flame size
5. Me with two geniuses
6. Squad
7. Rialto
8. The “TV” shot
9. T-Shirt Cannon
10. Selfie
Cast: @chrisfowler, @mnewman68, @alex_m_bedoya, michipidi, @jevonwhite, Marc Lucia, Shayla Duran
Client: @dish
Agency: @espn
Prodco: @artclasscontent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
COMPANY MOVES
Moving an entire crew will destroy a production day, so I always try to combine locations. But sometimes it’s not feasible. For this ESPNxDISH campaign we needed to film @chrisfowler at a house and a football stadium in the same day. While the stadium at magic hour would've been great, we couldn’t risk losing our light halfway through, so we committed to filming the stadium at night and making it feel more like an ethereal fantastical place, and also hide our empty stands.
To film quickly at the house location, I blocked all the action in the same area and got a variety of angles to mix things up. That allowed cinematographer @dougchamberlain to create one big lighting setup outside that worked for both the patio and the living room. Even though we had limited time, I tried to insert spectacle wherever I could — practical flames at the grill, a confetti canon, t-shirt launchers. Each was easily resettable by our designer @jerrythemovieguy.
SOME LESSONS
Unfortunately our plan for a football stadium with more built-in architecture didn’t materialize due to last-minute availability issues. To make up for it I tried to fill the air with haze and add light flares to minimize the stark night sky we were shooting against. Ultimately I think we got a pretty cool look and it was a great learning experience filming such a large low-elevation location at night.
In this carousel:
1. Boards for “Can’t Recall”
2. Boards for “Too Much”
3. Boards for “Mascots”
4. Mockup of flame size
5. Me with two geniuses
6. Squad
7. Rialto
8. The “TV” shot
9. T-Shirt Cannon
10. Selfie
Cast: @chrisfowler, @mnewman68, @alex_m_bedoya, michipidi, @jevonwhite, Marc Lucia, Shayla Duran
Client: @dish
Agency: @espn
Prodco: @artclasscontent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
COMPANY MOVES
Moving an entire crew will destroy a production day, so I always try to combine locations. But sometimes it’s not feasible. For this ESPNxDISH campaign we needed to film @chrisfowler at a house and a football stadium in the same day. While the stadium at magic hour would've been great, we couldn’t risk losing our light halfway through, so we committed to filming the stadium at night and making it feel more like an ethereal fantastical place, and also hide our empty stands.
To film quickly at the house location, I blocked all the action in the same area and got a variety of angles to mix things up. That allowed cinematographer @dougchamberlain to create one big lighting setup outside that worked for both the patio and the living room. Even though we had limited time, I tried to insert spectacle wherever I could — practical flames at the grill, a confetti canon, t-shirt launchers. Each was easily resettable by our designer @jerrythemovieguy.
SOME LESSONS
Unfortunately our plan for a football stadium with more built-in architecture didn’t materialize due to last-minute availability issues. To make up for it I tried to fill the air with haze and add light flares to minimize the stark night sky we were shooting against. Ultimately I think we got a pretty cool look and it was a great learning experience filming such a large low-elevation location at night.
In this carousel:
1. Boards for “Can’t Recall”
2. Boards for “Too Much”
3. Boards for “Mascots”
4. Mockup of flame size
5. Me with two geniuses
6. Squad
7. Rialto
8. The “TV” shot
9. T-Shirt Cannon
10. Selfie
Cast: @chrisfowler, @mnewman68, @alex_m_bedoya, michipidi, @jevonwhite, Marc Lucia, Shayla Duran
Client: @dish
Agency: @espn
Prodco: @artclasscontent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
COMPANY MOVES
Moving an entire crew will destroy a production day, so I always try to combine locations. But sometimes it’s not feasible. For this ESPNxDISH campaign we needed to film @chrisfowler at a house and a football stadium in the same day. While the stadium at magic hour would've been great, we couldn’t risk losing our light halfway through, so we committed to filming the stadium at night and making it feel more like an ethereal fantastical place, and also hide our empty stands.
To film quickly at the house location, I blocked all the action in the same area and got a variety of angles to mix things up. That allowed cinematographer @dougchamberlain to create one big lighting setup outside that worked for both the patio and the living room. Even though we had limited time, I tried to insert spectacle wherever I could — practical flames at the grill, a confetti canon, t-shirt launchers. Each was easily resettable by our designer @jerrythemovieguy.
SOME LESSONS
Unfortunately our plan for a football stadium with more built-in architecture didn’t materialize due to last-minute availability issues. To make up for it I tried to fill the air with haze and add light flares to minimize the stark night sky we were shooting against. Ultimately I think we got a pretty cool look and it was a great learning experience filming such a large low-elevation location at night.
In this carousel:
1. Boards for “Can’t Recall”
2. Boards for “Too Much”
3. Boards for “Mascots”
4. Mockup of flame size
5. Me with two geniuses
6. Squad
7. Rialto
8. The “TV” shot
9. T-Shirt Cannon
10. Selfie
Cast: @chrisfowler, @mnewman68, @alex_m_bedoya, michipidi, @jevonwhite, Marc Lucia, Shayla Duran
Client: @dish
Agency: @espn
Prodco: @artclasscontent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
COMPANY MOVES
Moving an entire crew will destroy a production day, so I always try to combine locations. But sometimes it’s not feasible. For this ESPNxDISH campaign we needed to film @chrisfowler at a house and a football stadium in the same day. While the stadium at magic hour would've been great, we couldn’t risk losing our light halfway through, so we committed to filming the stadium at night and making it feel more like an ethereal fantastical place, and also hide our empty stands.
To film quickly at the house location, I blocked all the action in the same area and got a variety of angles to mix things up. That allowed cinematographer @dougchamberlain to create one big lighting setup outside that worked for both the patio and the living room. Even though we had limited time, I tried to insert spectacle wherever I could — practical flames at the grill, a confetti canon, t-shirt launchers. Each was easily resettable by our designer @jerrythemovieguy.
SOME LESSONS
Unfortunately our plan for a football stadium with more built-in architecture didn’t materialize due to last-minute availability issues. To make up for it I tried to fill the air with haze and add light flares to minimize the stark night sky we were shooting against. Ultimately I think we got a pretty cool look and it was a great learning experience filming such a large low-elevation location at night.
In this carousel:
1. Boards for “Can’t Recall”
2. Boards for “Too Much”
3. Boards for “Mascots”
4. Mockup of flame size
5. Me with two geniuses
6. Squad
7. Rialto
8. The “TV” shot
9. T-Shirt Cannon
10. Selfie
Cast: @chrisfowler, @mnewman68, @alex_m_bedoya, michipidi, @jevonwhite, Marc Lucia, Shayla Duran
Client: @dish
Agency: @espn
Prodco: @artclasscontent
EP: Geno Imbriale
EP: @rebeccaniles
PM: @katgarelli
Producer: Brian Bennhoff
DP: @dougchamberlain
PD: @jerrythemovieguy
AD: Shawn Thomas
Boards: @aopaul_art
Stylist: Naty Parodi
HMU: Carmen Lopez
Locations: Diego Moralas
Story Save - Best free tool for saving Stories, Reels, Photos, Videos, Highlights, IGTV to your phone.
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