Instagram Hikaye Kaydet

10 years in the making, watch the movie now (link in bio)

Design by @johncalvert
Director: Caleb Slain @CalebSlain

#ForYourConsideration

#enough #enoughfilm #enoughisenough #oscars2021 #prodigycamp

New spot! (Full quality in bio) Been meaning to post this.….

Honored to pull in family, friends and old collaborators on this one. Tried to keep things feeling like summer camp. Shout out to the amazing production team in Guadalajara who made us feel at home.

Photographed by @mr_terpstra and @juliano_lopes, edited by me, sound designed by Andres Velasquez and colored by @maticprusnik. Additional footage by @tad.t. Awesome to have my siblings @kaitlynzittel and @aeterno_creative do vocals with Jacob and Jackie Bullard on original music by @grantfloering.

Big thanks to Lexus, Dentsu and AOI for extending a lot of blind trust amidst the international production. And massive love to our very dedicated cast, my reps and producers at @toboggan_tokyo, and Grant for working his ass off on the music.

Love love,
xS

———CREDITS———

LEXUS 900B Staff List

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain

Agency (Dentsu)
Masashi Sada (Creative Director)
Hirofumi Isoya (Art Director)
Shinichi Osaki (Producer)
Kana Inomata (Creative Producer)
Yoshika Dan (Producer)
Koji Yamaguchi (Creative Producer)
Daisuke Matsunaga (Planner)
Takahiro Hasegawa (Planner)

Agency (TOYOTA CONIQ Pro, inc.)
Toshihisa Fukuda (Account Mngr)

Production (AOI)
Hirohide Takene (Producer)
Ryuta Iwasa (Producer)
Koichiro Narita (Production Mngr)
Naoko Kido (Production Mngr)
Haonan Mak (Production Mngr)

Production (Toboggan)
Keita Yamamura (Producer)
Mako Hironaka (Production Mngr)
Raraka Ito (Production Mngr)
Eric Machiela (Producer)
Kody Horton (Locations & Co-Producer)
Amma Appiagyei-Dankah (Production Asst)

Production (Red Creek)
Analia Tiscornia (Executive Producer)
Ricardo Salcedo García (Line Producer)
Ixchel de la Rosa Olarte (Production Mngr)
Victor Nava (Location Mngr)
Bob Orozco (Production Asst)
Roberto de la Loza (Production Asst)

Assistant Director
Elsa Forsbach

Director of Photography
Juliano Lopes
Chad Terpstra
Tadashi Tawarayama

Shooting Department
Germán García (AC)
Tsubasa Hamano (AC)
Yutaka Akiyama (AC)
Emily Cameron (AC)
Josh Tyron (AC)

Lighting Department
Juan Gabriel Ayala
David Ayala
Fernanda Gonález Rubio
Vinny Walsh
Matt Ryan

(FULL CREDITS ON VIMEO)

New spot! (Full quality in bio) Been meaning to post this.….

Honored to pull in family, friends and old collaborators on this one. Tried to keep things feeling like summer camp. Shout out to the amazing production team in Guadalajara who made us feel at home.

Photographed by @mr_terpstra and @juliano_lopes, edited by me, sound designed by Andres Velasquez and colored by @maticprusnik. Additional footage by @tad.t. Awesome to have my siblings @kaitlynzittel and @aeterno_creative do vocals with Jacob and Jackie Bullard on original music by @grantfloering.

Big thanks to Lexus, Dentsu and AOI for extending a lot of blind trust amidst the international production. And massive love to our very dedicated cast, my reps and producers at @toboggan_tokyo, and Grant for working his ass off on the music.

Love love,
xS

———CREDITS———

LEXUS 900B Staff List

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain

Agency (Dentsu)
Masashi Sada (Creative Director)
Hirofumi Isoya (Art Director)
Shinichi Osaki (Producer)
Kana Inomata (Creative Producer)
Yoshika Dan (Producer)
Koji Yamaguchi (Creative Producer)
Daisuke Matsunaga (Planner)
Takahiro Hasegawa (Planner)

Agency (TOYOTA CONIQ Pro, inc.)
Toshihisa Fukuda (Account Mngr)

Production (AOI)
Hirohide Takene (Producer)
Ryuta Iwasa (Producer)
Koichiro Narita (Production Mngr)
Naoko Kido (Production Mngr)
Haonan Mak (Production Mngr)

Production (Toboggan)
Keita Yamamura (Producer)
Mako Hironaka (Production Mngr)
Raraka Ito (Production Mngr)
Eric Machiela (Producer)
Kody Horton (Locations & Co-Producer)
Amma Appiagyei-Dankah (Production Asst)

Production (Red Creek)
Analia Tiscornia (Executive Producer)
Ricardo Salcedo García (Line Producer)
Ixchel de la Rosa Olarte (Production Mngr)
Victor Nava (Location Mngr)
Bob Orozco (Production Asst)
Roberto de la Loza (Production Asst)

Assistant Director
Elsa Forsbach

Director of Photography
Juliano Lopes
Chad Terpstra
Tadashi Tawarayama

Shooting Department
Germán García (AC)
Tsubasa Hamano (AC)
Yutaka Akiyama (AC)
Emily Cameron (AC)
Josh Tyron (AC)

Lighting Department
Juan Gabriel Ayala
David Ayala
Fernanda Gonález Rubio
Vinny Walsh
Matt Ryan

(FULL CREDITS ON VIMEO)

New spot! (Full quality in bio) Been meaning to post this.….

Honored to pull in family, friends and old collaborators on this one. Tried to keep things feeling like summer camp. Shout out to the amazing production team in Guadalajara who made us feel at home.

Photographed by @mr_terpstra and @juliano_lopes, edited by me, sound designed by Andres Velasquez and colored by @maticprusnik. Additional footage by @tad.t. Awesome to have my siblings @kaitlynzittel and @aeterno_creative do vocals with Jacob and Jackie Bullard on original music by @grantfloering.

Big thanks to Lexus, Dentsu and AOI for extending a lot of blind trust amidst the international production. And massive love to our very dedicated cast, my reps and producers at @toboggan_tokyo, and Grant for working his ass off on the music.

Love love,
xS

———CREDITS———

LEXUS 900B Staff List

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain

Agency (Dentsu)
Masashi Sada (Creative Director)
Hirofumi Isoya (Art Director)
Shinichi Osaki (Producer)
Kana Inomata (Creative Producer)
Yoshika Dan (Producer)
Koji Yamaguchi (Creative Producer)
Daisuke Matsunaga (Planner)
Takahiro Hasegawa (Planner)

Agency (TOYOTA CONIQ Pro, inc.)
Toshihisa Fukuda (Account Mngr)

Production (AOI)
Hirohide Takene (Producer)
Ryuta Iwasa (Producer)
Koichiro Narita (Production Mngr)
Naoko Kido (Production Mngr)
Haonan Mak (Production Mngr)

Production (Toboggan)
Keita Yamamura (Producer)
Mako Hironaka (Production Mngr)
Raraka Ito (Production Mngr)
Eric Machiela (Producer)
Kody Horton (Locations & Co-Producer)
Amma Appiagyei-Dankah (Production Asst)

Production (Red Creek)
Analia Tiscornia (Executive Producer)
Ricardo Salcedo García (Line Producer)
Ixchel de la Rosa Olarte (Production Mngr)
Victor Nava (Location Mngr)
Bob Orozco (Production Asst)
Roberto de la Loza (Production Asst)

Assistant Director
Elsa Forsbach

Director of Photography
Juliano Lopes
Chad Terpstra
Tadashi Tawarayama

Shooting Department
Germán García (AC)
Tsubasa Hamano (AC)
Yutaka Akiyama (AC)
Emily Cameron (AC)
Josh Tyron (AC)

Lighting Department
Juan Gabriel Ayala
David Ayala
Fernanda Gonález Rubio
Vinny Walsh
Matt Ryan

(FULL CREDITS ON VIMEO)

New spot! (Full quality in bio) Been meaning to post this.….

Honored to pull in family, friends and old collaborators on this one. Tried to keep things feeling like summer camp. Shout out to the amazing production team in Guadalajara who made us feel at home.

Photographed by @mr_terpstra and @juliano_lopes, edited by me, sound designed by Andres Velasquez and colored by @maticprusnik. Additional footage by @tad.t. Awesome to have my siblings @kaitlynzittel and @aeterno_creative do vocals with Jacob and Jackie Bullard on original music by @grantfloering.

Big thanks to Lexus, Dentsu and AOI for extending a lot of blind trust amidst the international production. And massive love to our very dedicated cast, my reps and producers at @toboggan_tokyo, and Grant for working his ass off on the music.

Love love,
xS

———CREDITS———

LEXUS 900B Staff List

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain

Agency (Dentsu)
Masashi Sada (Creative Director)
Hirofumi Isoya (Art Director)
Shinichi Osaki (Producer)
Kana Inomata (Creative Producer)
Yoshika Dan (Producer)
Koji Yamaguchi (Creative Producer)
Daisuke Matsunaga (Planner)
Takahiro Hasegawa (Planner)

Agency (TOYOTA CONIQ Pro, inc.)
Toshihisa Fukuda (Account Mngr)

Production (AOI)
Hirohide Takene (Producer)
Ryuta Iwasa (Producer)
Koichiro Narita (Production Mngr)
Naoko Kido (Production Mngr)
Haonan Mak (Production Mngr)

Production (Toboggan)
Keita Yamamura (Producer)
Mako Hironaka (Production Mngr)
Raraka Ito (Production Mngr)
Eric Machiela (Producer)
Kody Horton (Locations & Co-Producer)
Amma Appiagyei-Dankah (Production Asst)

Production (Red Creek)
Analia Tiscornia (Executive Producer)
Ricardo Salcedo García (Line Producer)
Ixchel de la Rosa Olarte (Production Mngr)
Victor Nava (Location Mngr)
Bob Orozco (Production Asst)
Roberto de la Loza (Production Asst)

Assistant Director
Elsa Forsbach

Director of Photography
Juliano Lopes
Chad Terpstra
Tadashi Tawarayama

Shooting Department
Germán García (AC)
Tsubasa Hamano (AC)
Yutaka Akiyama (AC)
Emily Cameron (AC)
Josh Tyron (AC)

Lighting Department
Juan Gabriel Ayala
David Ayala
Fernanda Gonález Rubio
Vinny Walsh
Matt Ryan

(FULL CREDITS ON VIMEO)

New spot! (Full quality in bio) Been meaning to post this.….

Honored to pull in family, friends and old collaborators on this one. Tried to keep things feeling like summer camp. Shout out to the amazing production team in Guadalajara who made us feel at home.

Photographed by @mr_terpstra and @juliano_lopes, edited by me, sound designed by Andres Velasquez and colored by @maticprusnik. Additional footage by @tad.t. Awesome to have my siblings @kaitlynzittel and @aeterno_creative do vocals with Jacob and Jackie Bullard on original music by @grantfloering.

Big thanks to Lexus, Dentsu and AOI for extending a lot of blind trust amidst the international production. And massive love to our very dedicated cast, my reps and producers at @toboggan_tokyo, and Grant for working his ass off on the music.

Love love,
xS

———CREDITS———

LEXUS 900B Staff List

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain

Agency (Dentsu)
Masashi Sada (Creative Director)
Hirofumi Isoya (Art Director)
Shinichi Osaki (Producer)
Kana Inomata (Creative Producer)
Yoshika Dan (Producer)
Koji Yamaguchi (Creative Producer)
Daisuke Matsunaga (Planner)
Takahiro Hasegawa (Planner)

Agency (TOYOTA CONIQ Pro, inc.)
Toshihisa Fukuda (Account Mngr)

Production (AOI)
Hirohide Takene (Producer)
Ryuta Iwasa (Producer)
Koichiro Narita (Production Mngr)
Naoko Kido (Production Mngr)
Haonan Mak (Production Mngr)

Production (Toboggan)
Keita Yamamura (Producer)
Mako Hironaka (Production Mngr)
Raraka Ito (Production Mngr)
Eric Machiela (Producer)
Kody Horton (Locations & Co-Producer)
Amma Appiagyei-Dankah (Production Asst)

Production (Red Creek)
Analia Tiscornia (Executive Producer)
Ricardo Salcedo García (Line Producer)
Ixchel de la Rosa Olarte (Production Mngr)
Victor Nava (Location Mngr)
Bob Orozco (Production Asst)
Roberto de la Loza (Production Asst)

Assistant Director
Elsa Forsbach

Director of Photography
Juliano Lopes
Chad Terpstra
Tadashi Tawarayama

Shooting Department
Germán García (AC)
Tsubasa Hamano (AC)
Yutaka Akiyama (AC)
Emily Cameron (AC)
Josh Tyron (AC)

Lighting Department
Juan Gabriel Ayala
David Ayala
Fernanda Gonález Rubio
Vinny Walsh
Matt Ryan

(FULL CREDITS ON VIMEO)

New spot! (Full quality in bio) Been meaning to post this.….

Honored to pull in family, friends and old collaborators on this one. Tried to keep things feeling like summer camp. Shout out to the amazing production team in Guadalajara who made us feel at home.

Photographed by @mr_terpstra and @juliano_lopes, edited by me, sound designed by Andres Velasquez and colored by @maticprusnik. Additional footage by @tad.t. Awesome to have my siblings @kaitlynzittel and @aeterno_creative do vocals with Jacob and Jackie Bullard on original music by @grantfloering.

Big thanks to Lexus, Dentsu and AOI for extending a lot of blind trust amidst the international production. And massive love to our very dedicated cast, my reps and producers at @toboggan_tokyo, and Grant for working his ass off on the music.

Love love,
xS

———CREDITS———

LEXUS 900B Staff List

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain

Agency (Dentsu)
Masashi Sada (Creative Director)
Hirofumi Isoya (Art Director)
Shinichi Osaki (Producer)
Kana Inomata (Creative Producer)
Yoshika Dan (Producer)
Koji Yamaguchi (Creative Producer)
Daisuke Matsunaga (Planner)
Takahiro Hasegawa (Planner)

Agency (TOYOTA CONIQ Pro, inc.)
Toshihisa Fukuda (Account Mngr)

Production (AOI)
Hirohide Takene (Producer)
Ryuta Iwasa (Producer)
Koichiro Narita (Production Mngr)
Naoko Kido (Production Mngr)
Haonan Mak (Production Mngr)

Production (Toboggan)
Keita Yamamura (Producer)
Mako Hironaka (Production Mngr)
Raraka Ito (Production Mngr)
Eric Machiela (Producer)
Kody Horton (Locations & Co-Producer)
Amma Appiagyei-Dankah (Production Asst)

Production (Red Creek)
Analia Tiscornia (Executive Producer)
Ricardo Salcedo García (Line Producer)
Ixchel de la Rosa Olarte (Production Mngr)
Victor Nava (Location Mngr)
Bob Orozco (Production Asst)
Roberto de la Loza (Production Asst)

Assistant Director
Elsa Forsbach

Director of Photography
Juliano Lopes
Chad Terpstra
Tadashi Tawarayama

Shooting Department
Germán García (AC)
Tsubasa Hamano (AC)
Yutaka Akiyama (AC)
Emily Cameron (AC)
Josh Tyron (AC)

Lighting Department
Juan Gabriel Ayala
David Ayala
Fernanda Gonález Rubio
Vinny Walsh
Matt Ryan

(FULL CREDITS ON VIMEO)

New spot! (Full quality in bio) Been meaning to post this.….

Honored to pull in family, friends and old collaborators on this one. Tried to keep things feeling like summer camp. Shout out to the amazing production team in Guadalajara who made us feel at home.

Photographed by @mr_terpstra and @juliano_lopes, edited by me, sound designed by Andres Velasquez and colored by @maticprusnik. Additional footage by @tad.t. Awesome to have my siblings @kaitlynzittel and @aeterno_creative do vocals with Jacob and Jackie Bullard on original music by @grantfloering.

Big thanks to Lexus, Dentsu and AOI for extending a lot of blind trust amidst the international production. And massive love to our very dedicated cast, my reps and producers at @toboggan_tokyo, and Grant for working his ass off on the music.

Love love,
xS

———CREDITS———

LEXUS 900B Staff List

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain

Agency (Dentsu)
Masashi Sada (Creative Director)
Hirofumi Isoya (Art Director)
Shinichi Osaki (Producer)
Kana Inomata (Creative Producer)
Yoshika Dan (Producer)
Koji Yamaguchi (Creative Producer)
Daisuke Matsunaga (Planner)
Takahiro Hasegawa (Planner)

Agency (TOYOTA CONIQ Pro, inc.)
Toshihisa Fukuda (Account Mngr)

Production (AOI)
Hirohide Takene (Producer)
Ryuta Iwasa (Producer)
Koichiro Narita (Production Mngr)
Naoko Kido (Production Mngr)
Haonan Mak (Production Mngr)

Production (Toboggan)
Keita Yamamura (Producer)
Mako Hironaka (Production Mngr)
Raraka Ito (Production Mngr)
Eric Machiela (Producer)
Kody Horton (Locations & Co-Producer)
Amma Appiagyei-Dankah (Production Asst)

Production (Red Creek)
Analia Tiscornia (Executive Producer)
Ricardo Salcedo García (Line Producer)
Ixchel de la Rosa Olarte (Production Mngr)
Victor Nava (Location Mngr)
Bob Orozco (Production Asst)
Roberto de la Loza (Production Asst)

Assistant Director
Elsa Forsbach

Director of Photography
Juliano Lopes
Chad Terpstra
Tadashi Tawarayama

Shooting Department
Germán García (AC)
Tsubasa Hamano (AC)
Yutaka Akiyama (AC)
Emily Cameron (AC)
Josh Tyron (AC)

Lighting Department
Juan Gabriel Ayala
David Ayala
Fernanda Gonález Rubio
Vinny Walsh
Matt Ryan

(FULL CREDITS ON VIMEO)

New spot! (Full quality in bio) Been meaning to post this.….

Honored to pull in family, friends and old collaborators on this one. Tried to keep things feeling like summer camp. Shout out to the amazing production team in Guadalajara who made us feel at home.

Photographed by @mr_terpstra and @juliano_lopes, edited by me, sound designed by Andres Velasquez and colored by @maticprusnik. Additional footage by @tad.t. Awesome to have my siblings @kaitlynzittel and @aeterno_creative do vocals with Jacob and Jackie Bullard on original music by @grantfloering.

Big thanks to Lexus, Dentsu and AOI for extending a lot of blind trust amidst the international production. And massive love to our very dedicated cast, my reps and producers at @toboggan_tokyo, and Grant for working his ass off on the music.

Love love,
xS

———CREDITS———

LEXUS 900B Staff List

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain

Agency (Dentsu)
Masashi Sada (Creative Director)
Hirofumi Isoya (Art Director)
Shinichi Osaki (Producer)
Kana Inomata (Creative Producer)
Yoshika Dan (Producer)
Koji Yamaguchi (Creative Producer)
Daisuke Matsunaga (Planner)
Takahiro Hasegawa (Planner)

Agency (TOYOTA CONIQ Pro, inc.)
Toshihisa Fukuda (Account Mngr)

Production (AOI)
Hirohide Takene (Producer)
Ryuta Iwasa (Producer)
Koichiro Narita (Production Mngr)
Naoko Kido (Production Mngr)
Haonan Mak (Production Mngr)

Production (Toboggan)
Keita Yamamura (Producer)
Mako Hironaka (Production Mngr)
Raraka Ito (Production Mngr)
Eric Machiela (Producer)
Kody Horton (Locations & Co-Producer)
Amma Appiagyei-Dankah (Production Asst)

Production (Red Creek)
Analia Tiscornia (Executive Producer)
Ricardo Salcedo García (Line Producer)
Ixchel de la Rosa Olarte (Production Mngr)
Victor Nava (Location Mngr)
Bob Orozco (Production Asst)
Roberto de la Loza (Production Asst)

Assistant Director
Elsa Forsbach

Director of Photography
Juliano Lopes
Chad Terpstra
Tadashi Tawarayama

Shooting Department
Germán García (AC)
Tsubasa Hamano (AC)
Yutaka Akiyama (AC)
Emily Cameron (AC)
Josh Tyron (AC)

Lighting Department
Juan Gabriel Ayala
David Ayala
Fernanda Gonález Rubio
Vinny Walsh
Matt Ryan

(FULL CREDITS ON VIMEO)

New spot! (Full quality in bio) Been meaning to post this.….

Honored to pull in family, friends and old collaborators on this one. Tried to keep things feeling like summer camp. Shout out to the amazing production team in Guadalajara who made us feel at home.

Photographed by @mr_terpstra and @juliano_lopes, edited by me, sound designed by Andres Velasquez and colored by @maticprusnik. Additional footage by @tad.t. Awesome to have my siblings @kaitlynzittel and @aeterno_creative do vocals with Jacob and Jackie Bullard on original music by @grantfloering.

Big thanks to Lexus, Dentsu and AOI for extending a lot of blind trust amidst the international production. And massive love to our very dedicated cast, my reps and producers at @toboggan_tokyo, and Grant for working his ass off on the music.

Love love,
xS

———CREDITS———

LEXUS 900B Staff List

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain

Agency (Dentsu)
Masashi Sada (Creative Director)
Hirofumi Isoya (Art Director)
Shinichi Osaki (Producer)
Kana Inomata (Creative Producer)
Yoshika Dan (Producer)
Koji Yamaguchi (Creative Producer)
Daisuke Matsunaga (Planner)
Takahiro Hasegawa (Planner)

Agency (TOYOTA CONIQ Pro, inc.)
Toshihisa Fukuda (Account Mngr)

Production (AOI)
Hirohide Takene (Producer)
Ryuta Iwasa (Producer)
Koichiro Narita (Production Mngr)
Naoko Kido (Production Mngr)
Haonan Mak (Production Mngr)

Production (Toboggan)
Keita Yamamura (Producer)
Mako Hironaka (Production Mngr)
Raraka Ito (Production Mngr)
Eric Machiela (Producer)
Kody Horton (Locations & Co-Producer)
Amma Appiagyei-Dankah (Production Asst)

Production (Red Creek)
Analia Tiscornia (Executive Producer)
Ricardo Salcedo García (Line Producer)
Ixchel de la Rosa Olarte (Production Mngr)
Victor Nava (Location Mngr)
Bob Orozco (Production Asst)
Roberto de la Loza (Production Asst)

Assistant Director
Elsa Forsbach

Director of Photography
Juliano Lopes
Chad Terpstra
Tadashi Tawarayama

Shooting Department
Germán García (AC)
Tsubasa Hamano (AC)
Yutaka Akiyama (AC)
Emily Cameron (AC)
Josh Tyron (AC)

Lighting Department
Juan Gabriel Ayala
David Ayala
Fernanda Gonález Rubio
Vinny Walsh
Matt Ryan

(FULL CREDITS ON VIMEO)

New spot! (Full quality in bio) Been meaning to post this.….

Honored to pull in family, friends and old collaborators on this one. Tried to keep things feeling like summer camp. Shout out to the amazing production team in Guadalajara who made us feel at home.

Photographed by @mr_terpstra and @juliano_lopes, edited by me, sound designed by Andres Velasquez and colored by @maticprusnik. Additional footage by @tad.t. Awesome to have my siblings @kaitlynzittel and @aeterno_creative do vocals with Jacob and Jackie Bullard on original music by @grantfloering.

Big thanks to Lexus, Dentsu and AOI for extending a lot of blind trust amidst the international production. And massive love to our very dedicated cast, my reps and producers at @toboggan_tokyo, and Grant for working his ass off on the music.

Love love,
xS

———CREDITS———

LEXUS 900B Staff List

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain

Agency (Dentsu)
Masashi Sada (Creative Director)
Hirofumi Isoya (Art Director)
Shinichi Osaki (Producer)
Kana Inomata (Creative Producer)
Yoshika Dan (Producer)
Koji Yamaguchi (Creative Producer)
Daisuke Matsunaga (Planner)
Takahiro Hasegawa (Planner)

Agency (TOYOTA CONIQ Pro, inc.)
Toshihisa Fukuda (Account Mngr)

Production (AOI)
Hirohide Takene (Producer)
Ryuta Iwasa (Producer)
Koichiro Narita (Production Mngr)
Naoko Kido (Production Mngr)
Haonan Mak (Production Mngr)

Production (Toboggan)
Keita Yamamura (Producer)
Mako Hironaka (Production Mngr)
Raraka Ito (Production Mngr)
Eric Machiela (Producer)
Kody Horton (Locations & Co-Producer)
Amma Appiagyei-Dankah (Production Asst)

Production (Red Creek)
Analia Tiscornia (Executive Producer)
Ricardo Salcedo García (Line Producer)
Ixchel de la Rosa Olarte (Production Mngr)
Victor Nava (Location Mngr)
Bob Orozco (Production Asst)
Roberto de la Loza (Production Asst)

Assistant Director
Elsa Forsbach

Director of Photography
Juliano Lopes
Chad Terpstra
Tadashi Tawarayama

Shooting Department
Germán García (AC)
Tsubasa Hamano (AC)
Yutaka Akiyama (AC)
Emily Cameron (AC)
Josh Tyron (AC)

Lighting Department
Juan Gabriel Ayala
David Ayala
Fernanda Gonález Rubio
Vinny Walsh
Matt Ryan

(FULL CREDITS ON VIMEO)

The sound is everything so grab headphones for this <3

Shot in Big Sur, Japan, Northern Michigan, Thailand and the Ica Desert of Peru, this sonic experience is the reveal film for the first Lexus all-electric car. The creative challenge was to express the imperceptible side of nature through sound, articulating the erosion of separateness between driver and natural world. Logistically this was my first time directing any portion of a shoot remotely (about 75% remote), which at one point involved directing two productions in Japan and Thailand simultaneously. Very fun challenge made easy thanks to the amazing team around the globe. 

Friends have asked how much of the footage we filmed ourselves, so I’ll just say there are *three* shots in this video we licensed instead of filmed. If anyone can guess the three shots in the comments I will no joke cash app you $100.

Enjoy!

––––––––

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain @CalebSlain

Agency (Dentsu)
Creative Director: Masashi Sada
Art Director: Hirofumi Isoya
Planner: Daisuke Matsunaga 
Planner: Takahiro Hasegawa   

Production (AOI)
Producer: Hirohide Takene
Producer: Ryuta Iwasa
Production Manager: Koichiro Narita
Production Manager: Naoko Kido
Production Manager: Haonan Mak
Production Manager: Haruka Ono

U.S. Production: @ampersand_us
Managing Director: @detchmendy
Exec Producer: Susan Herbert
Line Producer: @DaveJRobertson
Post Producer: @susanagosti

Mr. Slain Producer: Keita Yamamura

CINEMATOGRAPHY
Big Sur: @williamdstone
Japan: @erwancloarec
Michigan: @mr_terpstra
Thailand: @garndp
Peru: @danielgarate77

Starring: @makoto88kamiya
Voice Over: @alchemission

POST PRODUCTION
Editor: @pezzillosview
Audio Post Production: @otbirds
OTB Sound Design + Mix: @idelgas
OTB Executive Producer: Guin Frehling
Colorist: Benoit Coté
Rodeo Prost Prod: @nkmcgregor
Rodeo Asst: @_bugbee_
VFX + CG: SLANTED
Online Editor: Chitoshi Murata

BIG SUR
Production Supervisor: @flyin321
Commercial Coord: @ursiebrown
Drone Pilot: @jofhanwright
Drone Op: @seanriv

The rest of the credits don't fit, but check on Vimeo for full list of contributors.

The sound is everything so grab headphones for this <3

Shot in Big Sur, Japan, Northern Michigan, Thailand and the Ica Desert of Peru, this sonic experience is the reveal film for the first Lexus all-electric car. The creative challenge was to express the imperceptible side of nature through sound, articulating the erosion of separateness between driver and natural world. Logistically this was my first time directing any portion of a shoot remotely (about 75% remote), which at one point involved directing two productions in Japan and Thailand simultaneously. Very fun challenge made easy thanks to the amazing team around the globe. 

Friends have asked how much of the footage we filmed ourselves, so I’ll just say there are *three* shots in this video we licensed instead of filmed. If anyone can guess the three shots in the comments I will no joke cash app you $100.

Enjoy!

––––––––

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain @CalebSlain

Agency (Dentsu)
Creative Director: Masashi Sada
Art Director: Hirofumi Isoya
Planner: Daisuke Matsunaga 
Planner: Takahiro Hasegawa   

Production (AOI)
Producer: Hirohide Takene
Producer: Ryuta Iwasa
Production Manager: Koichiro Narita
Production Manager: Naoko Kido
Production Manager: Haonan Mak
Production Manager: Haruka Ono

U.S. Production: @ampersand_us
Managing Director: @detchmendy
Exec Producer: Susan Herbert
Line Producer: @DaveJRobertson
Post Producer: @susanagosti

Mr. Slain Producer: Keita Yamamura

CINEMATOGRAPHY
Big Sur: @williamdstone
Japan: @erwancloarec
Michigan: @mr_terpstra
Thailand: @garndp
Peru: @danielgarate77

Starring: @makoto88kamiya
Voice Over: @alchemission

POST PRODUCTION
Editor: @pezzillosview
Audio Post Production: @otbirds
OTB Sound Design + Mix: @idelgas
OTB Executive Producer: Guin Frehling
Colorist: Benoit Coté
Rodeo Prost Prod: @nkmcgregor
Rodeo Asst: @_bugbee_
VFX + CG: SLANTED
Online Editor: Chitoshi Murata

BIG SUR
Production Supervisor: @flyin321
Commercial Coord: @ursiebrown
Drone Pilot: @jofhanwright
Drone Op: @seanriv

The rest of the credits don't fit, but check on Vimeo for full list of contributors.

The sound is everything so grab headphones for this <3

Shot in Big Sur, Japan, Northern Michigan, Thailand and the Ica Desert of Peru, this sonic experience is the reveal film for the first Lexus all-electric car. The creative challenge was to express the imperceptible side of nature through sound, articulating the erosion of separateness between driver and natural world. Logistically this was my first time directing any portion of a shoot remotely (about 75% remote), which at one point involved directing two productions in Japan and Thailand simultaneously. Very fun challenge made easy thanks to the amazing team around the globe. 

Friends have asked how much of the footage we filmed ourselves, so I’ll just say there are *three* shots in this video we licensed instead of filmed. If anyone can guess the three shots in the comments I will no joke cash app you $100.

Enjoy!

––––––––

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain @CalebSlain

Agency (Dentsu)
Creative Director: Masashi Sada
Art Director: Hirofumi Isoya
Planner: Daisuke Matsunaga 
Planner: Takahiro Hasegawa   

Production (AOI)
Producer: Hirohide Takene
Producer: Ryuta Iwasa
Production Manager: Koichiro Narita
Production Manager: Naoko Kido
Production Manager: Haonan Mak
Production Manager: Haruka Ono

U.S. Production: @ampersand_us
Managing Director: @detchmendy
Exec Producer: Susan Herbert
Line Producer: @DaveJRobertson
Post Producer: @susanagosti

Mr. Slain Producer: Keita Yamamura

CINEMATOGRAPHY
Big Sur: @williamdstone
Japan: @erwancloarec
Michigan: @mr_terpstra
Thailand: @garndp
Peru: @danielgarate77

Starring: @makoto88kamiya
Voice Over: @alchemission

POST PRODUCTION
Editor: @pezzillosview
Audio Post Production: @otbirds
OTB Sound Design + Mix: @idelgas
OTB Executive Producer: Guin Frehling
Colorist: Benoit Coté
Rodeo Prost Prod: @nkmcgregor
Rodeo Asst: @_bugbee_
VFX + CG: SLANTED
Online Editor: Chitoshi Murata

BIG SUR
Production Supervisor: @flyin321
Commercial Coord: @ursiebrown
Drone Pilot: @jofhanwright
Drone Op: @seanriv

The rest of the credits don't fit, but check on Vimeo for full list of contributors.

The sound is everything so grab headphones for this <3

Shot in Big Sur, Japan, Northern Michigan, Thailand and the Ica Desert of Peru, this sonic experience is the reveal film for the first Lexus all-electric car. The creative challenge was to express the imperceptible side of nature through sound, articulating the erosion of separateness between driver and natural world. Logistically this was my first time directing any portion of a shoot remotely (about 75% remote), which at one point involved directing two productions in Japan and Thailand simultaneously. Very fun challenge made easy thanks to the amazing team around the globe. 

Friends have asked how much of the footage we filmed ourselves, so I’ll just say there are *three* shots in this video we licensed instead of filmed. If anyone can guess the three shots in the comments I will no joke cash app you $100.

Enjoy!

––––––––

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain @CalebSlain

Agency (Dentsu)
Creative Director: Masashi Sada
Art Director: Hirofumi Isoya
Planner: Daisuke Matsunaga 
Planner: Takahiro Hasegawa   

Production (AOI)
Producer: Hirohide Takene
Producer: Ryuta Iwasa
Production Manager: Koichiro Narita
Production Manager: Naoko Kido
Production Manager: Haonan Mak
Production Manager: Haruka Ono

U.S. Production: @ampersand_us
Managing Director: @detchmendy
Exec Producer: Susan Herbert
Line Producer: @DaveJRobertson
Post Producer: @susanagosti

Mr. Slain Producer: Keita Yamamura

CINEMATOGRAPHY
Big Sur: @williamdstone
Japan: @erwancloarec
Michigan: @mr_terpstra
Thailand: @garndp
Peru: @danielgarate77

Starring: @makoto88kamiya
Voice Over: @alchemission

POST PRODUCTION
Editor: @pezzillosview
Audio Post Production: @otbirds
OTB Sound Design + Mix: @idelgas
OTB Executive Producer: Guin Frehling
Colorist: Benoit Coté
Rodeo Prost Prod: @nkmcgregor
Rodeo Asst: @_bugbee_
VFX + CG: SLANTED
Online Editor: Chitoshi Murata

BIG SUR
Production Supervisor: @flyin321
Commercial Coord: @ursiebrown
Drone Pilot: @jofhanwright
Drone Op: @seanriv

The rest of the credits don't fit, but check on Vimeo for full list of contributors.

The sound is everything so grab headphones for this <3

Shot in Big Sur, Japan, Northern Michigan, Thailand and the Ica Desert of Peru, this sonic experience is the reveal film for the first Lexus all-electric car. The creative challenge was to express the imperceptible side of nature through sound, articulating the erosion of separateness between driver and natural world. Logistically this was my first time directing any portion of a shoot remotely (about 75% remote), which at one point involved directing two productions in Japan and Thailand simultaneously. Very fun challenge made easy thanks to the amazing team around the globe. 

Friends have asked how much of the footage we filmed ourselves, so I’ll just say there are *three* shots in this video we licensed instead of filmed. If anyone can guess the three shots in the comments I will no joke cash app you $100.

Enjoy!

––––––––

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain @CalebSlain

Agency (Dentsu)
Creative Director: Masashi Sada
Art Director: Hirofumi Isoya
Planner: Daisuke Matsunaga 
Planner: Takahiro Hasegawa   

Production (AOI)
Producer: Hirohide Takene
Producer: Ryuta Iwasa
Production Manager: Koichiro Narita
Production Manager: Naoko Kido
Production Manager: Haonan Mak
Production Manager: Haruka Ono

U.S. Production: @ampersand_us
Managing Director: @detchmendy
Exec Producer: Susan Herbert
Line Producer: @DaveJRobertson
Post Producer: @susanagosti

Mr. Slain Producer: Keita Yamamura

CINEMATOGRAPHY
Big Sur: @williamdstone
Japan: @erwancloarec
Michigan: @mr_terpstra
Thailand: @garndp
Peru: @danielgarate77

Starring: @makoto88kamiya
Voice Over: @alchemission

POST PRODUCTION
Editor: @pezzillosview
Audio Post Production: @otbirds
OTB Sound Design + Mix: @idelgas
OTB Executive Producer: Guin Frehling
Colorist: Benoit Coté
Rodeo Prost Prod: @nkmcgregor
Rodeo Asst: @_bugbee_
VFX + CG: SLANTED
Online Editor: Chitoshi Murata

BIG SUR
Production Supervisor: @flyin321
Commercial Coord: @ursiebrown
Drone Pilot: @jofhanwright
Drone Op: @seanriv

The rest of the credits don't fit, but check on Vimeo for full list of contributors.

The sound is everything so grab headphones for this <3

Shot in Big Sur, Japan, Northern Michigan, Thailand and the Ica Desert of Peru, this sonic experience is the reveal film for the first Lexus all-electric car. The creative challenge was to express the imperceptible side of nature through sound, articulating the erosion of separateness between driver and natural world. Logistically this was my first time directing any portion of a shoot remotely (about 75% remote), which at one point involved directing two productions in Japan and Thailand simultaneously. Very fun challenge made easy thanks to the amazing team around the globe. 

Friends have asked how much of the footage we filmed ourselves, so I’ll just say there are *three* shots in this video we licensed instead of filmed. If anyone can guess the three shots in the comments I will no joke cash app you $100.

Enjoy!

––––––––

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain @CalebSlain

Agency (Dentsu)
Creative Director: Masashi Sada
Art Director: Hirofumi Isoya
Planner: Daisuke Matsunaga 
Planner: Takahiro Hasegawa   

Production (AOI)
Producer: Hirohide Takene
Producer: Ryuta Iwasa
Production Manager: Koichiro Narita
Production Manager: Naoko Kido
Production Manager: Haonan Mak
Production Manager: Haruka Ono

U.S. Production: @ampersand_us
Managing Director: @detchmendy
Exec Producer: Susan Herbert
Line Producer: @DaveJRobertson
Post Producer: @susanagosti

Mr. Slain Producer: Keita Yamamura

CINEMATOGRAPHY
Big Sur: @williamdstone
Japan: @erwancloarec
Michigan: @mr_terpstra
Thailand: @garndp
Peru: @danielgarate77

Starring: @makoto88kamiya
Voice Over: @alchemission

POST PRODUCTION
Editor: @pezzillosview
Audio Post Production: @otbirds
OTB Sound Design + Mix: @idelgas
OTB Executive Producer: Guin Frehling
Colorist: Benoit Coté
Rodeo Prost Prod: @nkmcgregor
Rodeo Asst: @_bugbee_
VFX + CG: SLANTED
Online Editor: Chitoshi Murata

BIG SUR
Production Supervisor: @flyin321
Commercial Coord: @ursiebrown
Drone Pilot: @jofhanwright
Drone Op: @seanriv

The rest of the credits don't fit, but check on Vimeo for full list of contributors.

The sound is everything so grab headphones for this <3

Shot in Big Sur, Japan, Northern Michigan, Thailand and the Ica Desert of Peru, this sonic experience is the reveal film for the first Lexus all-electric car. The creative challenge was to express the imperceptible side of nature through sound, articulating the erosion of separateness between driver and natural world. Logistically this was my first time directing any portion of a shoot remotely (about 75% remote), which at one point involved directing two productions in Japan and Thailand simultaneously. Very fun challenge made easy thanks to the amazing team around the globe. 

Friends have asked how much of the footage we filmed ourselves, so I’ll just say there are *three* shots in this video we licensed instead of filmed. If anyone can guess the three shots in the comments I will no joke cash app you $100.

Enjoy!

––––––––

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain @CalebSlain

Agency (Dentsu)
Creative Director: Masashi Sada
Art Director: Hirofumi Isoya
Planner: Daisuke Matsunaga 
Planner: Takahiro Hasegawa   

Production (AOI)
Producer: Hirohide Takene
Producer: Ryuta Iwasa
Production Manager: Koichiro Narita
Production Manager: Naoko Kido
Production Manager: Haonan Mak
Production Manager: Haruka Ono

U.S. Production: @ampersand_us
Managing Director: @detchmendy
Exec Producer: Susan Herbert
Line Producer: @DaveJRobertson
Post Producer: @susanagosti

Mr. Slain Producer: Keita Yamamura

CINEMATOGRAPHY
Big Sur: @williamdstone
Japan: @erwancloarec
Michigan: @mr_terpstra
Thailand: @garndp
Peru: @danielgarate77

Starring: @makoto88kamiya
Voice Over: @alchemission

POST PRODUCTION
Editor: @pezzillosview
Audio Post Production: @otbirds
OTB Sound Design + Mix: @idelgas
OTB Executive Producer: Guin Frehling
Colorist: Benoit Coté
Rodeo Prost Prod: @nkmcgregor
Rodeo Asst: @_bugbee_
VFX + CG: SLANTED
Online Editor: Chitoshi Murata

BIG SUR
Production Supervisor: @flyin321
Commercial Coord: @ursiebrown
Drone Pilot: @jofhanwright
Drone Op: @seanriv

The rest of the credits don't fit, but check on Vimeo for full list of contributors.

The sound is everything so grab headphones for this <3

Shot in Big Sur, Japan, Northern Michigan, Thailand and the Ica Desert of Peru, this sonic experience is the reveal film for the first Lexus all-electric car. The creative challenge was to express the imperceptible side of nature through sound, articulating the erosion of separateness between driver and natural world. Logistically this was my first time directing any portion of a shoot remotely (about 75% remote), which at one point involved directing two productions in Japan and Thailand simultaneously. Very fun challenge made easy thanks to the amazing team around the globe. 

Friends have asked how much of the footage we filmed ourselves, so I’ll just say there are *three* shots in this video we licensed instead of filmed. If anyone can guess the three shots in the comments I will no joke cash app you $100.

Enjoy!

––––––––

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain @CalebSlain

Agency (Dentsu)
Creative Director: Masashi Sada
Art Director: Hirofumi Isoya
Planner: Daisuke Matsunaga 
Planner: Takahiro Hasegawa   

Production (AOI)
Producer: Hirohide Takene
Producer: Ryuta Iwasa
Production Manager: Koichiro Narita
Production Manager: Naoko Kido
Production Manager: Haonan Mak
Production Manager: Haruka Ono

U.S. Production: @ampersand_us
Managing Director: @detchmendy
Exec Producer: Susan Herbert
Line Producer: @DaveJRobertson
Post Producer: @susanagosti

Mr. Slain Producer: Keita Yamamura

CINEMATOGRAPHY
Big Sur: @williamdstone
Japan: @erwancloarec
Michigan: @mr_terpstra
Thailand: @garndp
Peru: @danielgarate77

Starring: @makoto88kamiya
Voice Over: @alchemission

POST PRODUCTION
Editor: @pezzillosview
Audio Post Production: @otbirds
OTB Sound Design + Mix: @idelgas
OTB Executive Producer: Guin Frehling
Colorist: Benoit Coté
Rodeo Prost Prod: @nkmcgregor
Rodeo Asst: @_bugbee_
VFX + CG: SLANTED
Online Editor: Chitoshi Murata

BIG SUR
Production Supervisor: @flyin321
Commercial Coord: @ursiebrown
Drone Pilot: @jofhanwright
Drone Op: @seanriv

The rest of the credits don't fit, but check on Vimeo for full list of contributors.

The sound is everything so grab headphones for this <3

Shot in Big Sur, Japan, Northern Michigan, Thailand and the Ica Desert of Peru, this sonic experience is the reveal film for the first Lexus all-electric car. The creative challenge was to express the imperceptible side of nature through sound, articulating the erosion of separateness between driver and natural world. Logistically this was my first time directing any portion of a shoot remotely (about 75% remote), which at one point involved directing two productions in Japan and Thailand simultaneously. Very fun challenge made easy thanks to the amazing team around the globe. 

Friends have asked how much of the footage we filmed ourselves, so I’ll just say there are *three* shots in this video we licensed instead of filmed. If anyone can guess the three shots in the comments I will no joke cash app you $100.

Enjoy!

––––––––

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain @CalebSlain

Agency (Dentsu)
Creative Director: Masashi Sada
Art Director: Hirofumi Isoya
Planner: Daisuke Matsunaga 
Planner: Takahiro Hasegawa   

Production (AOI)
Producer: Hirohide Takene
Producer: Ryuta Iwasa
Production Manager: Koichiro Narita
Production Manager: Naoko Kido
Production Manager: Haonan Mak
Production Manager: Haruka Ono

U.S. Production: @ampersand_us
Managing Director: @detchmendy
Exec Producer: Susan Herbert
Line Producer: @DaveJRobertson
Post Producer: @susanagosti

Mr. Slain Producer: Keita Yamamura

CINEMATOGRAPHY
Big Sur: @williamdstone
Japan: @erwancloarec
Michigan: @mr_terpstra
Thailand: @garndp
Peru: @danielgarate77

Starring: @makoto88kamiya
Voice Over: @alchemission

POST PRODUCTION
Editor: @pezzillosview
Audio Post Production: @otbirds
OTB Sound Design + Mix: @idelgas
OTB Executive Producer: Guin Frehling
Colorist: Benoit Coté
Rodeo Prost Prod: @nkmcgregor
Rodeo Asst: @_bugbee_
VFX + CG: SLANTED
Online Editor: Chitoshi Murata

BIG SUR
Production Supervisor: @flyin321
Commercial Coord: @ursiebrown
Drone Pilot: @jofhanwright
Drone Op: @seanriv

The rest of the credits don't fit, but check on Vimeo for full list of contributors.

The sound is everything so grab headphones for this <3

Shot in Big Sur, Japan, Northern Michigan, Thailand and the Ica Desert of Peru, this sonic experience is the reveal film for the first Lexus all-electric car. The creative challenge was to express the imperceptible side of nature through sound, articulating the erosion of separateness between driver and natural world. Logistically this was my first time directing any portion of a shoot remotely (about 75% remote), which at one point involved directing two productions in Japan and Thailand simultaneously. Very fun challenge made easy thanks to the amazing team around the globe. 

Friends have asked how much of the footage we filmed ourselves, so I’ll just say there are *three* shots in this video we licensed instead of filmed. If anyone can guess the three shots in the comments I will no joke cash app you $100.

Enjoy!

––––––––

Executive Creative Director: Hiroyuki Ito
Director: Caleb Slain @CalebSlain

Agency (Dentsu)
Creative Director: Masashi Sada
Art Director: Hirofumi Isoya
Planner: Daisuke Matsunaga 
Planner: Takahiro Hasegawa   

Production (AOI)
Producer: Hirohide Takene
Producer: Ryuta Iwasa
Production Manager: Koichiro Narita
Production Manager: Naoko Kido
Production Manager: Haonan Mak
Production Manager: Haruka Ono

U.S. Production: @ampersand_us
Managing Director: @detchmendy
Exec Producer: Susan Herbert
Line Producer: @DaveJRobertson
Post Producer: @susanagosti

Mr. Slain Producer: Keita Yamamura

CINEMATOGRAPHY
Big Sur: @williamdstone
Japan: @erwancloarec
Michigan: @mr_terpstra
Thailand: @garndp
Peru: @danielgarate77

Starring: @makoto88kamiya
Voice Over: @alchemission

POST PRODUCTION
Editor: @pezzillosview
Audio Post Production: @otbirds
OTB Sound Design + Mix: @idelgas
OTB Executive Producer: Guin Frehling
Colorist: Benoit Coté
Rodeo Prost Prod: @nkmcgregor
Rodeo Asst: @_bugbee_
VFX + CG: SLANTED
Online Editor: Chitoshi Murata

BIG SUR
Production Supervisor: @flyin321
Commercial Coord: @ursiebrown
Drone Pilot: @jofhanwright
Drone Op: @seanriv

The rest of the credits don't fit, but check on Vimeo for full list of contributors.

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

Ford said make it “sinister,” so here we are.

This spot was a beast of production design, so I want to give our team their flowers and talk about the process for a minute. Starting with PNW final art boss Trae King / @traekingdesign — reuniting after so many years! ILY!

THE MESO MURAL: From the brief, the agency wanted to capture an underground feel in a foreboding part of town. People mostly think of Seattle for its scenic beauty, but the Southside is a maze of industrial stretches with grand smokechoked structures like monuments to a fading age. We partnered with a metal shop who let us paint a 30 foot tall Mayan-inspired mural on one of the loading doors. You wouldn’t believe what a saga this mural was. Just the raw logistics, let alone the design and execution, all while prepping 9 other spots. We were rescued by the tremendous talents of Carlos Aguilar / @theydrift and his crew, who transformed our bad ideas into a jaw-dropping work of art. The video simply can’t do it justice. Go make a pilgramage to the Lindmark Machine Works and see it with your own eyes! 🖤

THE LOBO STATUE: In the brief, the character was described as a steel artist making a “metal sculpture”. I liked the idea of a nocturnal artist specializing in meso-mythology, so taking inspiration from the Lobo namesake, I lobbied to make the statue a Mesoamerican wolf monster. But the production had only a few weeks to prepare, so getting sign-off from client and agency was impossible within schedule, unless we could show multiple design options with detailed specs in 24 hours. Gathering references of ancient Aztec/Mayan carvings and design, along with ancient steel art, I blended them into Midjourney and generated hundreds of rough ideas, narrowing it down to a handful that we could build from. With the help of design genius Dav / @alive.machine , we refined our selects into 3D models, with 360 video wraparounds demonstrating for the agency and client what each of the statues might look like. Luckily we all agreed on the winner, and with less than two weeks to build it, got the designs off to fabricator Jim Guerci to start slapping the beast together. 👁️‍🗨️🧿

Credits⬇️

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

This spot was inspired by the Colombian up-mountain gravel cycling movement known as Los Escarabajos (“The Scarabs”), an enduring symbol of resilience, which has grown in popularity among Latin athletic communities around the world.

Something that’s hard to appreciate in 30 seconds is how tiring the physical demands of cycling up and down mountains for two days actually are. Take after take, hour after hour, never complaining, never asking to pause filming to recover, even when soaked in sweat and out of breath — the whole cast remained unshakable and positive. THANK YOU Gilberto, Ramon, Chonzie, Tara, Carlos, Matt and Jaimes. Especially amid the shoot’s many technical complexities, you kept my spirits lifted and made our jobs easy.

Special shout out to @mikeypackage for the stunning color work and @loganfpv for the ace drone bending!!

Also, when I heard there was arm car team who transformed into a drone team at the flip of a button, with the drone kit literally popping out of the hood, I was admittedly somewhat skeptical. Car shoots allow for such a minuscule margin of error that we generally seek out highly specialized talent in all departments because a single technician can grind the big expensive party to a halt. In my infinite ignorance I couldn’t imagine the chimeric multi-expertise that is @bu66a and the whole Motion State team. You guys were rockstars and our anchor for four long days. God bless you.

🚴‍♀️ CAST 🚴‍♂️
VO: @bryancranston 
Gilberto Del Campo @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

DoP: @kristoferbonnell
PD: @traekingdesign
Edit: @pezzillosview
2nd Dir: @terryrayment
2nd DoP: @chadterpstra

A million years ago I won a scholarship to a screenwriting program in Seattle and wound up couch surfing on Capitol Hill for a month (eternal gratitude to @kazzos ). I’d walk down to this beautiful vista on Melrose St., up above the highway overlooking the REI flagship store, and wind my way downhill to classes at the Seattle center. It’s a street that was weirdly formative for me. I remember it feeling like the first time I could walk outside dressed in whatever clothes I wanted, however strange or expressive, without drawing any attention. To be both audacious and ordinary. I think self-consciousness is one of the great enemies of art, and so it was a joy to return to a place that holds such warm and instructive memories and film on that exact same stretch.

This shoot involved quite a bit of coordination. We started filming on Capitol Hill, then had to transition across town for the drone show in West Seattle during the city’s infamous rush hour — a company move that would have been impossible within our schedule, if not for of hiring a police escort (glory to our locations team and Ken Coble for that bit of ingenuity).

Enough can’t be said about the cast, who were more terrific on camera than a 30-second car spot could ever convey. It’s a crime we didn’t call the whole thing off and start shooting a movie right then because the talent assembled was through the roof.

Also! Shooting up close around a drone show involves a ton of complexity and red tape. We were really lucky to partner with Sky Elements @skyelementsdrones and do it all for real without VFX. Big thanks to their whole team for the world class professionalism, and going out of their way to accommodate our shooting approach.

CAST
VO @bryancranston
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

Editor: @pezzillosview
PD: @traekingdesign
2nd Director: @terryrayment
2nd DoP: @chadterpstra
Tech: @motionstate

A million years ago I won a scholarship to a screenwriting program in Seattle and wound up couch surfing on Capitol Hill for a month (eternal gratitude to @kazzos ). I’d walk down to this beautiful vista on Melrose St., up above the highway overlooking the REI flagship store, and wind my way downhill to classes at the Seattle center. It’s a street that was weirdly formative for me. I remember it feeling like the first time I could walk outside dressed in whatever clothes I wanted, however strange or expressive, without drawing any attention. To be both audacious and ordinary. I think self-consciousness is one of the great enemies of art, and so it was a joy to return to a place that holds such warm and instructive memories and film on that exact same stretch.

This shoot involved quite a bit of coordination. We started filming on Capitol Hill, then had to transition across town for the drone show in West Seattle during the city’s infamous rush hour — a company move that would have been impossible within our schedule, if not for of hiring a police escort (glory to our locations team and Ken Coble for that bit of ingenuity).

Enough can’t be said about the cast, who were more terrific on camera than a 30-second car spot could ever convey. It’s a crime we didn’t call the whole thing off and start shooting a movie right then because the talent assembled was through the roof.

Also! Shooting up close around a drone show involves a ton of complexity and red tape. We were really lucky to partner with Sky Elements @skyelementsdrones and do it all for real without VFX. Big thanks to their whole team for the world class professionalism, and going out of their way to accommodate our shooting approach.

CAST
VO @bryancranston
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

Editor: @pezzillosview
PD: @traekingdesign
2nd Director: @terryrayment
2nd DoP: @chadterpstra
Tech: @motionstate

A million years ago I won a scholarship to a screenwriting program in Seattle and wound up couch surfing on Capitol Hill for a month (eternal gratitude to @kazzos ). I’d walk down to this beautiful vista on Melrose St., up above the highway overlooking the REI flagship store, and wind my way downhill to classes at the Seattle center. It’s a street that was weirdly formative for me. I remember it feeling like the first time I could walk outside dressed in whatever clothes I wanted, however strange or expressive, without drawing any attention. To be both audacious and ordinary. I think self-consciousness is one of the great enemies of art, and so it was a joy to return to a place that holds such warm and instructive memories and film on that exact same stretch.

This shoot involved quite a bit of coordination. We started filming on Capitol Hill, then had to transition across town for the drone show in West Seattle during the city’s infamous rush hour — a company move that would have been impossible within our schedule, if not for of hiring a police escort (glory to our locations team and Ken Coble for that bit of ingenuity).

Enough can’t be said about the cast, who were more terrific on camera than a 30-second car spot could ever convey. It’s a crime we didn’t call the whole thing off and start shooting a movie right then because the talent assembled was through the roof.

Also! Shooting up close around a drone show involves a ton of complexity and red tape. We were really lucky to partner with Sky Elements @skyelementsdrones and do it all for real without VFX. Big thanks to their whole team for the world class professionalism, and going out of their way to accommodate our shooting approach.

CAST
VO @bryancranston
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

Editor: @pezzillosview
PD: @traekingdesign
2nd Director: @terryrayment
2nd DoP: @chadterpstra
Tech: @motionstate

A million years ago I won a scholarship to a screenwriting program in Seattle and wound up couch surfing on Capitol Hill for a month (eternal gratitude to @kazzos ). I’d walk down to this beautiful vista on Melrose St., up above the highway overlooking the REI flagship store, and wind my way downhill to classes at the Seattle center. It’s a street that was weirdly formative for me. I remember it feeling like the first time I could walk outside dressed in whatever clothes I wanted, however strange or expressive, without drawing any attention. To be both audacious and ordinary. I think self-consciousness is one of the great enemies of art, and so it was a joy to return to a place that holds such warm and instructive memories and film on that exact same stretch.

This shoot involved quite a bit of coordination. We started filming on Capitol Hill, then had to transition across town for the drone show in West Seattle during the city’s infamous rush hour — a company move that would have been impossible within our schedule, if not for of hiring a police escort (glory to our locations team and Ken Coble for that bit of ingenuity).

Enough can’t be said about the cast, who were more terrific on camera than a 30-second car spot could ever convey. It’s a crime we didn’t call the whole thing off and start shooting a movie right then because the talent assembled was through the roof.

Also! Shooting up close around a drone show involves a ton of complexity and red tape. We were really lucky to partner with Sky Elements @skyelementsdrones and do it all for real without VFX. Big thanks to their whole team for the world class professionalism, and going out of their way to accommodate our shooting approach.

CAST
VO @bryancranston
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

Editor: @pezzillosview
PD: @traekingdesign
2nd Director: @terryrayment
2nd DoP: @chadterpstra
Tech: @motionstate

A million years ago I won a scholarship to a screenwriting program in Seattle and wound up couch surfing on Capitol Hill for a month (eternal gratitude to @kazzos ). I’d walk down to this beautiful vista on Melrose St., up above the highway overlooking the REI flagship store, and wind my way downhill to classes at the Seattle center. It’s a street that was weirdly formative for me. I remember it feeling like the first time I could walk outside dressed in whatever clothes I wanted, however strange or expressive, without drawing any attention. To be both audacious and ordinary. I think self-consciousness is one of the great enemies of art, and so it was a joy to return to a place that holds such warm and instructive memories and film on that exact same stretch.

This shoot involved quite a bit of coordination. We started filming on Capitol Hill, then had to transition across town for the drone show in West Seattle during the city’s infamous rush hour — a company move that would have been impossible within our schedule, if not for of hiring a police escort (glory to our locations team and Ken Coble for that bit of ingenuity).

Enough can’t be said about the cast, who were more terrific on camera than a 30-second car spot could ever convey. It’s a crime we didn’t call the whole thing off and start shooting a movie right then because the talent assembled was through the roof.

Also! Shooting up close around a drone show involves a ton of complexity and red tape. We were really lucky to partner with Sky Elements @skyelementsdrones and do it all for real without VFX. Big thanks to their whole team for the world class professionalism, and going out of their way to accommodate our shooting approach.

CAST
VO @bryancranston
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

Editor: @pezzillosview
PD: @traekingdesign
2nd Director: @terryrayment
2nd DoP: @chadterpstra
Tech: @motionstate

A million years ago I won a scholarship to a screenwriting program in Seattle and wound up couch surfing on Capitol Hill for a month (eternal gratitude to @kazzos ). I’d walk down to this beautiful vista on Melrose St., up above the highway overlooking the REI flagship store, and wind my way downhill to classes at the Seattle center. It’s a street that was weirdly formative for me. I remember it feeling like the first time I could walk outside dressed in whatever clothes I wanted, however strange or expressive, without drawing any attention. To be both audacious and ordinary. I think self-consciousness is one of the great enemies of art, and so it was a joy to return to a place that holds such warm and instructive memories and film on that exact same stretch.

This shoot involved quite a bit of coordination. We started filming on Capitol Hill, then had to transition across town for the drone show in West Seattle during the city’s infamous rush hour — a company move that would have been impossible within our schedule, if not for of hiring a police escort (glory to our locations team and Ken Coble for that bit of ingenuity).

Enough can’t be said about the cast, who were more terrific on camera than a 30-second car spot could ever convey. It’s a crime we didn’t call the whole thing off and start shooting a movie right then because the talent assembled was through the roof.

Also! Shooting up close around a drone show involves a ton of complexity and red tape. We were really lucky to partner with Sky Elements @skyelementsdrones and do it all for real without VFX. Big thanks to their whole team for the world class professionalism, and going out of their way to accommodate our shooting approach.

CAST
VO @bryancranston
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

Editor: @pezzillosview
PD: @traekingdesign
2nd Director: @terryrayment
2nd DoP: @chadterpstra
Tech: @motionstate

A million years ago I won a scholarship to a screenwriting program in Seattle and wound up couch surfing on Capitol Hill for a month (eternal gratitude to @kazzos ). I’d walk down to this beautiful vista on Melrose St., up above the highway overlooking the REI flagship store, and wind my way downhill to classes at the Seattle center. It’s a street that was weirdly formative for me. I remember it feeling like the first time I could walk outside dressed in whatever clothes I wanted, however strange or expressive, without drawing any attention. To be both audacious and ordinary. I think self-consciousness is one of the great enemies of art, and so it was a joy to return to a place that holds such warm and instructive memories and film on that exact same stretch.

This shoot involved quite a bit of coordination. We started filming on Capitol Hill, then had to transition across town for the drone show in West Seattle during the city’s infamous rush hour — a company move that would have been impossible within our schedule, if not for of hiring a police escort (glory to our locations team and Ken Coble for that bit of ingenuity).

Enough can’t be said about the cast, who were more terrific on camera than a 30-second car spot could ever convey. It’s a crime we didn’t call the whole thing off and start shooting a movie right then because the talent assembled was through the roof.

Also! Shooting up close around a drone show involves a ton of complexity and red tape. We were really lucky to partner with Sky Elements @skyelementsdrones and do it all for real without VFX. Big thanks to their whole team for the world class professionalism, and going out of their way to accommodate our shooting approach.

CAST
VO @bryancranston
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

Editor: @pezzillosview
PD: @traekingdesign
2nd Director: @terryrayment
2nd DoP: @chadterpstra
Tech: @motionstate

A million years ago I won a scholarship to a screenwriting program in Seattle and wound up couch surfing on Capitol Hill for a month (eternal gratitude to @kazzos ). I’d walk down to this beautiful vista on Melrose St., up above the highway overlooking the REI flagship store, and wind my way downhill to classes at the Seattle center. It’s a street that was weirdly formative for me. I remember it feeling like the first time I could walk outside dressed in whatever clothes I wanted, however strange or expressive, without drawing any attention. To be both audacious and ordinary. I think self-consciousness is one of the great enemies of art, and so it was a joy to return to a place that holds such warm and instructive memories and film on that exact same stretch.

This shoot involved quite a bit of coordination. We started filming on Capitol Hill, then had to transition across town for the drone show in West Seattle during the city’s infamous rush hour — a company move that would have been impossible within our schedule, if not for of hiring a police escort (glory to our locations team and Ken Coble for that bit of ingenuity).

Enough can’t be said about the cast, who were more terrific on camera than a 30-second car spot could ever convey. It’s a crime we didn’t call the whole thing off and start shooting a movie right then because the talent assembled was through the roof.

Also! Shooting up close around a drone show involves a ton of complexity and red tape. We were really lucky to partner with Sky Elements @skyelementsdrones and do it all for real without VFX. Big thanks to their whole team for the world class professionalism, and going out of their way to accommodate our shooting approach.

CAST
VO @bryancranston
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

Editor: @pezzillosview
PD: @traekingdesign
2nd Director: @terryrayment
2nd DoP: @chadterpstra
Tech: @motionstate

A million years ago I won a scholarship to a screenwriting program in Seattle and wound up couch surfing on Capitol Hill for a month (eternal gratitude to @kazzos ). I’d walk down to this beautiful vista on Melrose St., up above the highway overlooking the REI flagship store, and wind my way downhill to classes at the Seattle center. It’s a street that was weirdly formative for me. I remember it feeling like the first time I could walk outside dressed in whatever clothes I wanted, however strange or expressive, without drawing any attention. To be both audacious and ordinary. I think self-consciousness is one of the great enemies of art, and so it was a joy to return to a place that holds such warm and instructive memories and film on that exact same stretch.

This shoot involved quite a bit of coordination. We started filming on Capitol Hill, then had to transition across town for the drone show in West Seattle during the city’s infamous rush hour — a company move that would have been impossible within our schedule, if not for of hiring a police escort (glory to our locations team and Ken Coble for that bit of ingenuity).

Enough can’t be said about the cast, who were more terrific on camera than a 30-second car spot could ever convey. It’s a crime we didn’t call the whole thing off and start shooting a movie right then because the talent assembled was through the roof.

Also! Shooting up close around a drone show involves a ton of complexity and red tape. We were really lucky to partner with Sky Elements @skyelementsdrones and do it all for real without VFX. Big thanks to their whole team for the world class professionalism, and going out of their way to accommodate our shooting approach.

CAST
VO @bryancranston
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

Editor: @pezzillosview
PD: @traekingdesign
2nd Director: @terryrayment
2nd DoP: @chadterpstra
Tech: @motionstate

A million years ago I won a scholarship to a screenwriting program in Seattle and wound up couch surfing on Capitol Hill for a month (eternal gratitude to @kazzos ). I’d walk down to this beautiful vista on Melrose St., up above the highway overlooking the REI flagship store, and wind my way downhill to classes at the Seattle center. It’s a street that was weirdly formative for me. I remember it feeling like the first time I could walk outside dressed in whatever clothes I wanted, however strange or expressive, without drawing any attention. To be both audacious and ordinary. I think self-consciousness is one of the great enemies of art, and so it was a joy to return to a place that holds such warm and instructive memories and film on that exact same stretch.

This shoot involved quite a bit of coordination. We started filming on Capitol Hill, then had to transition across town for the drone show in West Seattle during the city’s infamous rush hour — a company move that would have been impossible within our schedule, if not for of hiring a police escort (glory to our locations team and Ken Coble for that bit of ingenuity).

Enough can’t be said about the cast, who were more terrific on camera than a 30-second car spot could ever convey. It’s a crime we didn’t call the whole thing off and start shooting a movie right then because the talent assembled was through the roof.

Also! Shooting up close around a drone show involves a ton of complexity and red tape. We were really lucky to partner with Sky Elements @skyelementsdrones and do it all for real without VFX. Big thanks to their whole team for the world class professionalism, and going out of their way to accommodate our shooting approach.

CAST
VO @bryancranston
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

Editor: @pezzillosview
PD: @traekingdesign
2nd Director: @terryrayment
2nd DoP: @chadterpstra
Tech: @motionstate

A million years ago I won a scholarship to a screenwriting program in Seattle and wound up couch surfing on Capitol Hill for a month (eternal gratitude to @kazzos ). I’d walk down to this beautiful vista on Melrose St., up above the highway overlooking the REI flagship store, and wind my way downhill to classes at the Seattle center. It’s a street that was weirdly formative for me. I remember it feeling like the first time I could walk outside dressed in whatever clothes I wanted, however strange or expressive, without drawing any attention. To be both audacious and ordinary. I think self-consciousness is one of the great enemies of art, and so it was a joy to return to a place that holds such warm and instructive memories and film on that exact same stretch.

This shoot involved quite a bit of coordination. We started filming on Capitol Hill, then had to transition across town for the drone show in West Seattle during the city’s infamous rush hour — a company move that would have been impossible within our schedule, if not for of hiring a police escort (glory to our locations team and Ken Coble for that bit of ingenuity).

Enough can’t be said about the cast, who were more terrific on camera than a 30-second car spot could ever convey. It’s a crime we didn’t call the whole thing off and start shooting a movie right then because the talent assembled was through the roof.

Also! Shooting up close around a drone show involves a ton of complexity and red tape. We were really lucky to partner with Sky Elements @skyelementsdrones and do it all for real without VFX. Big thanks to their whole team for the world class professionalism, and going out of their way to accommodate our shooting approach.

CAST
VO @bryancranston
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

Editor: @pezzillosview
PD: @traekingdesign
2nd Director: @terryrayment
2nd DoP: @chadterpstra
Tech: @motionstate

A million years ago I won a scholarship to a screenwriting program in Seattle and wound up couch surfing on Capitol Hill for a month (eternal gratitude to @kazzos ). I’d walk down to this beautiful vista on Melrose St., up above the highway overlooking the REI flagship store, and wind my way downhill to classes at the Seattle center. It’s a street that was weirdly formative for me. I remember it feeling like the first time I could walk outside dressed in whatever clothes I wanted, however strange or expressive, without drawing any attention. To be both audacious and ordinary. I think self-consciousness is one of the great enemies of art, and so it was a joy to return to a place that holds such warm and instructive memories and film on that exact same stretch.

This shoot involved quite a bit of coordination. We started filming on Capitol Hill, then had to transition across town for the drone show in West Seattle during the city’s infamous rush hour — a company move that would have been impossible within our schedule, if not for of hiring a police escort (glory to our locations team and Ken Coble for that bit of ingenuity).

Enough can’t be said about the cast, who were more terrific on camera than a 30-second car spot could ever convey. It’s a crime we didn’t call the whole thing off and start shooting a movie right then because the talent assembled was through the roof.

Also! Shooting up close around a drone show involves a ton of complexity and red tape. We were really lucky to partner with Sky Elements @skyelementsdrones and do it all for real without VFX. Big thanks to their whole team for the world class professionalism, and going out of their way to accommodate our shooting approach.

CAST
VO @bryancranston
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

Editor: @pezzillosview
PD: @traekingdesign
2nd Director: @terryrayment
2nd DoP: @chadterpstra
Tech: @motionstate

A million years ago I won a scholarship to a screenwriting program in Seattle and wound up couch surfing on Capitol Hill for a month (eternal gratitude to @kazzos ). I’d walk down to this beautiful vista on Melrose St., up above the highway overlooking the REI flagship store, and wind my way downhill to classes at the Seattle center. It’s a street that was weirdly formative for me. I remember it feeling like the first time I could walk outside dressed in whatever clothes I wanted, however strange or expressive, without drawing any attention. To be both audacious and ordinary. I think self-consciousness is one of the great enemies of art, and so it was a joy to return to a place that holds such warm and instructive memories and film on that exact same stretch.

This shoot involved quite a bit of coordination. We started filming on Capitol Hill, then had to transition across town for the drone show in West Seattle during the city’s infamous rush hour — a company move that would have been impossible within our schedule, if not for of hiring a police escort (glory to our locations team and Ken Coble for that bit of ingenuity).

Enough can’t be said about the cast, who were more terrific on camera than a 30-second car spot could ever convey. It’s a crime we didn’t call the whole thing off and start shooting a movie right then because the talent assembled was through the roof.

Also! Shooting up close around a drone show involves a ton of complexity and red tape. We were really lucky to partner with Sky Elements @skyelementsdrones and do it all for real without VFX. Big thanks to their whole team for the world class professionalism, and going out of their way to accommodate our shooting approach.

CAST
VO @bryancranston
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

Editor: @pezzillosview
PD: @traekingdesign
2nd Director: @terryrayment
2nd DoP: @chadterpstra
Tech: @motionstate

A million years ago I won a scholarship to a screenwriting program in Seattle and wound up couch surfing on Capitol Hill for a month (eternal gratitude to @kazzos ). I’d walk down to this beautiful vista on Melrose St., up above the highway overlooking the REI flagship store, and wind my way downhill to classes at the Seattle center. It’s a street that was weirdly formative for me. I remember it feeling like the first time I could walk outside dressed in whatever clothes I wanted, however strange or expressive, without drawing any attention. To be both audacious and ordinary. I think self-consciousness is one of the great enemies of art, and so it was a joy to return to a place that holds such warm and instructive memories and film on that exact same stretch.

This shoot involved quite a bit of coordination. We started filming on Capitol Hill, then had to transition across town for the drone show in West Seattle during the city’s infamous rush hour — a company move that would have been impossible within our schedule, if not for of hiring a police escort (glory to our locations team and Ken Coble for that bit of ingenuity).

Enough can’t be said about the cast, who were more terrific on camera than a 30-second car spot could ever convey. It’s a crime we didn’t call the whole thing off and start shooting a movie right then because the talent assembled was through the roof.

Also! Shooting up close around a drone show involves a ton of complexity and red tape. We were really lucky to partner with Sky Elements @skyelementsdrones and do it all for real without VFX. Big thanks to their whole team for the world class professionalism, and going out of their way to accommodate our shooting approach.

CAST
VO @bryancranston
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

Editor: @pezzillosview
PD: @traekingdesign
2nd Director: @terryrayment
2nd DoP: @chadterpstra
Tech: @motionstate

A million years ago I won a scholarship to a screenwriting program in Seattle and wound up couch surfing on Capitol Hill for a month (eternal gratitude to @kazzos ). I’d walk down to this beautiful vista on Melrose St., up above the highway overlooking the REI flagship store, and wind my way downhill to classes at the Seattle center. It’s a street that was weirdly formative for me. I remember it feeling like the first time I could walk outside dressed in whatever clothes I wanted, however strange or expressive, without drawing any attention. To be both audacious and ordinary. I think self-consciousness is one of the great enemies of art, and so it was a joy to return to a place that holds such warm and instructive memories and film on that exact same stretch.

This shoot involved quite a bit of coordination. We started filming on Capitol Hill, then had to transition across town for the drone show in West Seattle during the city’s infamous rush hour — a company move that would have been impossible within our schedule, if not for of hiring a police escort (glory to our locations team and Ken Coble for that bit of ingenuity).

Enough can’t be said about the cast, who were more terrific on camera than a 30-second car spot could ever convey. It’s a crime we didn’t call the whole thing off and start shooting a movie right then because the talent assembled was through the roof.

Also! Shooting up close around a drone show involves a ton of complexity and red tape. We were really lucky to partner with Sky Elements @skyelementsdrones and do it all for real without VFX. Big thanks to their whole team for the world class professionalism, and going out of their way to accommodate our shooting approach.

CAST
VO @bryancranston
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

Editor: @pezzillosview
PD: @traekingdesign
2nd Director: @terryrayment
2nd DoP: @chadterpstra
Tech: @motionstate

3 STORIES. 4 SHOOT DAYS. 120+ CREW.

Thrilled to FINALLY share this director’s cut. Shout out to our inexhaustible crew, everyone who pushed their limits for this shoot (you know who you are!). Thank you everyone who made each day feel like a party. I would shoot a hundred more days with this cast — they are the best. Hire them all. Huge thanks to my team at @friendsandfamily and @talkshopny, and unshakable producer Jeff T. These spots would not be possible without the supreme talents of key creatives like DP/human fireball Kris Bonnell, production designer/PNW legend Trae King, my longtime editor/midwife Nick Pezzillo, ad whisperer Terry Rayment, and countless more.

Having friends and family on set is a huge part of how I like to shoot, and I’m so grateful for the presence and talents of all time homie Chad Terpstra, sister Emerald, lil bro Deyker, soul sister Krystal, and generational heartthrob Ellen.

Look out for other 3 cuts!

CREDITS (CONT’D IN COMMENTS)

————————————

VO: Bryan Cranston

🚴‍♀️ CYCLISTS 🚴‍♂️
Gilberto Del Campo (Coach) @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

🎬 FILMMAKERS 🎬
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

⚒️ STEEL ARTIST ⚒️
Diego Torres @diego_jc_torres

————————————

👨‍🎨AGENCY KEYS👩‍🎨
Creative Director: @jackome
Copywriter: @rochacami
Social Art Director: @nidal_kt

————————————

Director: @Calebslain
DoP: @kristoferbonnell
Production Designer: @traekingdesign
EP / Managing Director: Scott Kaplan
EP / HOP: @jedherold
EP: @alanacadabra
Producer: Jeff Tannebring
2nd Director: @terryrayment
2nd DoP: @chadterpstra
2nd Producer: Brian Buckland

Editor/Sound Design: @pezzillosview
Color: @mikeypackage

1st AD: @marcvance1
2nd AD: @becerra_ad
3rd AD: @emeraldshay

FPV Drone: @loganfpv
Photographer: @oliverehmig

3 STORIES. 4 SHOOT DAYS. 120+ CREW.

Thrilled to FINALLY share this director’s cut. Shout out to our inexhaustible crew, everyone who pushed their limits for this shoot (you know who you are!). Thank you everyone who made each day feel like a party. I would shoot a hundred more days with this cast — they are the best. Hire them all. Huge thanks to my team at @friendsandfamily and @talkshopny, and unshakable producer Jeff T. These spots would not be possible without the supreme talents of key creatives like DP/human fireball Kris Bonnell, production designer/PNW legend Trae King, my longtime editor/midwife Nick Pezzillo, ad whisperer Terry Rayment, and countless more.

Having friends and family on set is a huge part of how I like to shoot, and I’m so grateful for the presence and talents of all time homie Chad Terpstra, sister Emerald, lil bro Deyker, soul sister Krystal, and generational heartthrob Ellen.

Look out for other 3 cuts!

CREDITS (CONT’D IN COMMENTS)

————————————

VO: Bryan Cranston

🚴‍♀️ CYCLISTS 🚴‍♂️
Gilberto Del Campo (Coach) @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

🎬 FILMMAKERS 🎬
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

⚒️ STEEL ARTIST ⚒️
Diego Torres @diego_jc_torres

————————————

👨‍🎨AGENCY KEYS👩‍🎨
Creative Director: @jackome
Copywriter: @rochacami
Social Art Director: @nidal_kt

————————————

Director: @Calebslain
DoP: @kristoferbonnell
Production Designer: @traekingdesign
EP / Managing Director: Scott Kaplan
EP / HOP: @jedherold
EP: @alanacadabra
Producer: Jeff Tannebring
2nd Director: @terryrayment
2nd DoP: @chadterpstra
2nd Producer: Brian Buckland

Editor/Sound Design: @pezzillosview
Color: @mikeypackage

1st AD: @marcvance1
2nd AD: @becerra_ad
3rd AD: @emeraldshay

FPV Drone: @loganfpv
Photographer: @oliverehmig

3 STORIES. 4 SHOOT DAYS. 120+ CREW.

Thrilled to FINALLY share this director’s cut. Shout out to our inexhaustible crew, everyone who pushed their limits for this shoot (you know who you are!). Thank you everyone who made each day feel like a party. I would shoot a hundred more days with this cast — they are the best. Hire them all. Huge thanks to my team at @friendsandfamily and @talkshopny, and unshakable producer Jeff T. These spots would not be possible without the supreme talents of key creatives like DP/human fireball Kris Bonnell, production designer/PNW legend Trae King, my longtime editor/midwife Nick Pezzillo, ad whisperer Terry Rayment, and countless more.

Having friends and family on set is a huge part of how I like to shoot, and I’m so grateful for the presence and talents of all time homie Chad Terpstra, sister Emerald, lil bro Deyker, soul sister Krystal, and generational heartthrob Ellen.

Look out for other 3 cuts!

CREDITS (CONT’D IN COMMENTS)

————————————

VO: Bryan Cranston

🚴‍♀️ CYCLISTS 🚴‍♂️
Gilberto Del Campo (Coach) @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

🎬 FILMMAKERS 🎬
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

⚒️ STEEL ARTIST ⚒️
Diego Torres @diego_jc_torres

————————————

👨‍🎨AGENCY KEYS👩‍🎨
Creative Director: @jackome
Copywriter: @rochacami
Social Art Director: @nidal_kt

————————————

Director: @Calebslain
DoP: @kristoferbonnell
Production Designer: @traekingdesign
EP / Managing Director: Scott Kaplan
EP / HOP: @jedherold
EP: @alanacadabra
Producer: Jeff Tannebring
2nd Director: @terryrayment
2nd DoP: @chadterpstra
2nd Producer: Brian Buckland

Editor/Sound Design: @pezzillosview
Color: @mikeypackage

1st AD: @marcvance1
2nd AD: @becerra_ad
3rd AD: @emeraldshay

FPV Drone: @loganfpv
Photographer: @oliverehmig

3 STORIES. 4 SHOOT DAYS. 120+ CREW.

Thrilled to FINALLY share this director’s cut. Shout out to our inexhaustible crew, everyone who pushed their limits for this shoot (you know who you are!). Thank you everyone who made each day feel like a party. I would shoot a hundred more days with this cast — they are the best. Hire them all. Huge thanks to my team at @friendsandfamily and @talkshopny, and unshakable producer Jeff T. These spots would not be possible without the supreme talents of key creatives like DP/human fireball Kris Bonnell, production designer/PNW legend Trae King, my longtime editor/midwife Nick Pezzillo, ad whisperer Terry Rayment, and countless more.

Having friends and family on set is a huge part of how I like to shoot, and I’m so grateful for the presence and talents of all time homie Chad Terpstra, sister Emerald, lil bro Deyker, soul sister Krystal, and generational heartthrob Ellen.

Look out for other 3 cuts!

CREDITS (CONT’D IN COMMENTS)

————————————

VO: Bryan Cranston

🚴‍♀️ CYCLISTS 🚴‍♂️
Gilberto Del Campo (Coach) @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

🎬 FILMMAKERS 🎬
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

⚒️ STEEL ARTIST ⚒️
Diego Torres @diego_jc_torres

————————————

👨‍🎨AGENCY KEYS👩‍🎨
Creative Director: @jackome
Copywriter: @rochacami
Social Art Director: @nidal_kt

————————————

Director: @Calebslain
DoP: @kristoferbonnell
Production Designer: @traekingdesign
EP / Managing Director: Scott Kaplan
EP / HOP: @jedherold
EP: @alanacadabra
Producer: Jeff Tannebring
2nd Director: @terryrayment
2nd DoP: @chadterpstra
2nd Producer: Brian Buckland

Editor/Sound Design: @pezzillosview
Color: @mikeypackage

1st AD: @marcvance1
2nd AD: @becerra_ad
3rd AD: @emeraldshay

FPV Drone: @loganfpv
Photographer: @oliverehmig

3 STORIES. 4 SHOOT DAYS. 120+ CREW.

Thrilled to FINALLY share this director’s cut. Shout out to our inexhaustible crew, everyone who pushed their limits for this shoot (you know who you are!). Thank you everyone who made each day feel like a party. I would shoot a hundred more days with this cast — they are the best. Hire them all. Huge thanks to my team at @friendsandfamily and @talkshopny, and unshakable producer Jeff T. These spots would not be possible without the supreme talents of key creatives like DP/human fireball Kris Bonnell, production designer/PNW legend Trae King, my longtime editor/midwife Nick Pezzillo, ad whisperer Terry Rayment, and countless more.

Having friends and family on set is a huge part of how I like to shoot, and I’m so grateful for the presence and talents of all time homie Chad Terpstra, sister Emerald, lil bro Deyker, soul sister Krystal, and generational heartthrob Ellen.

Look out for other 3 cuts!

CREDITS (CONT’D IN COMMENTS)

————————————

VO: Bryan Cranston

🚴‍♀️ CYCLISTS 🚴‍♂️
Gilberto Del Campo (Coach) @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

🎬 FILMMAKERS 🎬
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

⚒️ STEEL ARTIST ⚒️
Diego Torres @diego_jc_torres

————————————

👨‍🎨AGENCY KEYS👩‍🎨
Creative Director: @jackome
Copywriter: @rochacami
Social Art Director: @nidal_kt

————————————

Director: @Calebslain
DoP: @kristoferbonnell
Production Designer: @traekingdesign
EP / Managing Director: Scott Kaplan
EP / HOP: @jedherold
EP: @alanacadabra
Producer: Jeff Tannebring
2nd Director: @terryrayment
2nd DoP: @chadterpstra
2nd Producer: Brian Buckland

Editor/Sound Design: @pezzillosview
Color: @mikeypackage

1st AD: @marcvance1
2nd AD: @becerra_ad
3rd AD: @emeraldshay

FPV Drone: @loganfpv
Photographer: @oliverehmig

3 STORIES. 4 SHOOT DAYS. 120+ CREW.

Thrilled to FINALLY share this director’s cut. Shout out to our inexhaustible crew, everyone who pushed their limits for this shoot (you know who you are!). Thank you everyone who made each day feel like a party. I would shoot a hundred more days with this cast — they are the best. Hire them all. Huge thanks to my team at @friendsandfamily and @talkshopny, and unshakable producer Jeff T. These spots would not be possible without the supreme talents of key creatives like DP/human fireball Kris Bonnell, production designer/PNW legend Trae King, my longtime editor/midwife Nick Pezzillo, ad whisperer Terry Rayment, and countless more.

Having friends and family on set is a huge part of how I like to shoot, and I’m so grateful for the presence and talents of all time homie Chad Terpstra, sister Emerald, lil bro Deyker, soul sister Krystal, and generational heartthrob Ellen.

Look out for other 3 cuts!

CREDITS (CONT’D IN COMMENTS)

————————————

VO: Bryan Cranston

🚴‍♀️ CYCLISTS 🚴‍♂️
Gilberto Del Campo (Coach) @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

🎬 FILMMAKERS 🎬
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

⚒️ STEEL ARTIST ⚒️
Diego Torres @diego_jc_torres

————————————

👨‍🎨AGENCY KEYS👩‍🎨
Creative Director: @jackome
Copywriter: @rochacami
Social Art Director: @nidal_kt

————————————

Director: @Calebslain
DoP: @kristoferbonnell
Production Designer: @traekingdesign
EP / Managing Director: Scott Kaplan
EP / HOP: @jedherold
EP: @alanacadabra
Producer: Jeff Tannebring
2nd Director: @terryrayment
2nd DoP: @chadterpstra
2nd Producer: Brian Buckland

Editor/Sound Design: @pezzillosview
Color: @mikeypackage

1st AD: @marcvance1
2nd AD: @becerra_ad
3rd AD: @emeraldshay

FPV Drone: @loganfpv
Photographer: @oliverehmig

3 STORIES. 4 SHOOT DAYS. 120+ CREW.

Thrilled to FINALLY share this director’s cut. Shout out to our inexhaustible crew, everyone who pushed their limits for this shoot (you know who you are!). Thank you everyone who made each day feel like a party. I would shoot a hundred more days with this cast — they are the best. Hire them all. Huge thanks to my team at @friendsandfamily and @talkshopny, and unshakable producer Jeff T. These spots would not be possible without the supreme talents of key creatives like DP/human fireball Kris Bonnell, production designer/PNW legend Trae King, my longtime editor/midwife Nick Pezzillo, ad whisperer Terry Rayment, and countless more.

Having friends and family on set is a huge part of how I like to shoot, and I’m so grateful for the presence and talents of all time homie Chad Terpstra, sister Emerald, lil bro Deyker, soul sister Krystal, and generational heartthrob Ellen.

Look out for other 3 cuts!

CREDITS (CONT’D IN COMMENTS)

————————————

VO: Bryan Cranston

🚴‍♀️ CYCLISTS 🚴‍♂️
Gilberto Del Campo (Coach) @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

🎬 FILMMAKERS 🎬
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

⚒️ STEEL ARTIST ⚒️
Diego Torres @diego_jc_torres

————————————

👨‍🎨AGENCY KEYS👩‍🎨
Creative Director: @jackome
Copywriter: @rochacami
Social Art Director: @nidal_kt

————————————

Director: @Calebslain
DoP: @kristoferbonnell
Production Designer: @traekingdesign
EP / Managing Director: Scott Kaplan
EP / HOP: @jedherold
EP: @alanacadabra
Producer: Jeff Tannebring
2nd Director: @terryrayment
2nd DoP: @chadterpstra
2nd Producer: Brian Buckland

Editor/Sound Design: @pezzillosview
Color: @mikeypackage

1st AD: @marcvance1
2nd AD: @becerra_ad
3rd AD: @emeraldshay

FPV Drone: @loganfpv
Photographer: @oliverehmig

3 STORIES. 4 SHOOT DAYS. 120+ CREW.

Thrilled to FINALLY share this director’s cut. Shout out to our inexhaustible crew, everyone who pushed their limits for this shoot (you know who you are!). Thank you everyone who made each day feel like a party. I would shoot a hundred more days with this cast — they are the best. Hire them all. Huge thanks to my team at @friendsandfamily and @talkshopny, and unshakable producer Jeff T. These spots would not be possible without the supreme talents of key creatives like DP/human fireball Kris Bonnell, production designer/PNW legend Trae King, my longtime editor/midwife Nick Pezzillo, ad whisperer Terry Rayment, and countless more.

Having friends and family on set is a huge part of how I like to shoot, and I’m so grateful for the presence and talents of all time homie Chad Terpstra, sister Emerald, lil bro Deyker, soul sister Krystal, and generational heartthrob Ellen.

Look out for other 3 cuts!

CREDITS (CONT’D IN COMMENTS)

————————————

VO: Bryan Cranston

🚴‍♀️ CYCLISTS 🚴‍♂️
Gilberto Del Campo (Coach) @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

🎬 FILMMAKERS 🎬
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

⚒️ STEEL ARTIST ⚒️
Diego Torres @diego_jc_torres

————————————

👨‍🎨AGENCY KEYS👩‍🎨
Creative Director: @jackome
Copywriter: @rochacami
Social Art Director: @nidal_kt

————————————

Director: @Calebslain
DoP: @kristoferbonnell
Production Designer: @traekingdesign
EP / Managing Director: Scott Kaplan
EP / HOP: @jedherold
EP: @alanacadabra
Producer: Jeff Tannebring
2nd Director: @terryrayment
2nd DoP: @chadterpstra
2nd Producer: Brian Buckland

Editor/Sound Design: @pezzillosview
Color: @mikeypackage

1st AD: @marcvance1
2nd AD: @becerra_ad
3rd AD: @emeraldshay

FPV Drone: @loganfpv
Photographer: @oliverehmig

3 STORIES. 4 SHOOT DAYS. 120+ CREW.

Thrilled to FINALLY share this director’s cut. Shout out to our inexhaustible crew, everyone who pushed their limits for this shoot (you know who you are!). Thank you everyone who made each day feel like a party. I would shoot a hundred more days with this cast — they are the best. Hire them all. Huge thanks to my team at @friendsandfamily and @talkshopny, and unshakable producer Jeff T. These spots would not be possible without the supreme talents of key creatives like DP/human fireball Kris Bonnell, production designer/PNW legend Trae King, my longtime editor/midwife Nick Pezzillo, ad whisperer Terry Rayment, and countless more.

Having friends and family on set is a huge part of how I like to shoot, and I’m so grateful for the presence and talents of all time homie Chad Terpstra, sister Emerald, lil bro Deyker, soul sister Krystal, and generational heartthrob Ellen.

Look out for other 3 cuts!

CREDITS (CONT’D IN COMMENTS)

————————————

VO: Bryan Cranston

🚴‍♀️ CYCLISTS 🚴‍♂️
Gilberto Del Campo (Coach) @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

🎬 FILMMAKERS 🎬
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

⚒️ STEEL ARTIST ⚒️
Diego Torres @diego_jc_torres

————————————

👨‍🎨AGENCY KEYS👩‍🎨
Creative Director: @jackome
Copywriter: @rochacami
Social Art Director: @nidal_kt

————————————

Director: @Calebslain
DoP: @kristoferbonnell
Production Designer: @traekingdesign
EP / Managing Director: Scott Kaplan
EP / HOP: @jedherold
EP: @alanacadabra
Producer: Jeff Tannebring
2nd Director: @terryrayment
2nd DoP: @chadterpstra
2nd Producer: Brian Buckland

Editor/Sound Design: @pezzillosview
Color: @mikeypackage

1st AD: @marcvance1
2nd AD: @becerra_ad
3rd AD: @emeraldshay

FPV Drone: @loganfpv
Photographer: @oliverehmig

3 STORIES. 4 SHOOT DAYS. 120+ CREW.

Thrilled to FINALLY share this director’s cut. Shout out to our inexhaustible crew, everyone who pushed their limits for this shoot (you know who you are!). Thank you everyone who made each day feel like a party. I would shoot a hundred more days with this cast — they are the best. Hire them all. Huge thanks to my team at @friendsandfamily and @talkshopny, and unshakable producer Jeff T. These spots would not be possible without the supreme talents of key creatives like DP/human fireball Kris Bonnell, production designer/PNW legend Trae King, my longtime editor/midwife Nick Pezzillo, ad whisperer Terry Rayment, and countless more.

Having friends and family on set is a huge part of how I like to shoot, and I’m so grateful for the presence and talents of all time homie Chad Terpstra, sister Emerald, lil bro Deyker, soul sister Krystal, and generational heartthrob Ellen.

Look out for other 3 cuts!

CREDITS (CONT’D IN COMMENTS)

————————————

VO: Bryan Cranston

🚴‍♀️ CYCLISTS 🚴‍♂️
Gilberto Del Campo (Coach) @gilbertomartindelcampo
Ramon Alcantara @ramonsimplex
Matthew Garel @themattgarel
Carlos Dias @carlosdiasshow
Tara Moore @tara.erica.moore
Jaimes Timas @jaimestimas
Chonzie Bhota @chonzie

🎬 FILMMAKERS 🎬
Rafael Cebrian (Director) @cebrianrafael
Bianca Santos (Drone Engineer) @biancaalexasantos
Deyker Carranza (Boom) @theycarecenter
Ellen Marte (1st AC) @lnmarte
Jose Alvarez (Gaffer) @alvarez_jose_a
Krystal De La Cruz (1st AD) @neverbasicboho
Tom Avila (Key Grip) @tomavila5
Mauri Perez (DoP) @maurimontebello

⚒️ STEEL ARTIST ⚒️
Diego Torres @diego_jc_torres

————————————

👨‍🎨AGENCY KEYS👩‍🎨
Creative Director: @jackome
Copywriter: @rochacami
Social Art Director: @nidal_kt

————————————

Director: @Calebslain
DoP: @kristoferbonnell
Production Designer: @traekingdesign
EP / Managing Director: Scott Kaplan
EP / HOP: @jedherold
EP: @alanacadabra
Producer: Jeff Tannebring
2nd Director: @terryrayment
2nd DoP: @chadterpstra
2nd Producer: Brian Buckland

Editor/Sound Design: @pezzillosview
Color: @mikeypackage

1st AD: @marcvance1
2nd AD: @becerra_ad
3rd AD: @emeraldshay

FPV Drone: @loganfpv
Photographer: @oliverehmig

My favorite behind-the-scenes moments are always the mundane. Side conversations, watching artists think or improvise or screw up, jokes between PAs at crafty, debates over cigarettes, so on...

Examples that comes to mind include the video diary "That Moment" about the making of Magnolia, the full-length BTS featurette of The Social Network, "Dogville Confessions" which documents the contentious shooting process of Von Trier's Dogville from the actors' perspectives, and "My Life Directed By Nicolas Winding Refn" cataloguing the production of Only God Forgives through a domestic lens by Refn's wife.

Another that gets criminally overlooked is on the Blu-ray for The Lovely Bones, which documents months of day-to-day production minutiae in unprecedented chronological order.

Treachery #1 (in We major)
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#gazablackout #genocide #gaza #NYU #gazacity #idf #warcrimes #infanticide #palestine #palestineholocaust @calebslain

Treachery #1 (in We major)
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#gazablackout #genocide #gaza #NYU #gazacity #idf #warcrimes #infanticide #palestine #palestineholocaust @calebslain

Treachery #1 (in We major)
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#gazablackout #genocide #gaza #NYU #gazacity #idf #warcrimes #infanticide #palestine #palestineholocaust @calebslain

BM 2025

haus of neko

#catsanctuary #catcafe #cat #friendlyfeline #crazycat

haus of neko

#catsanctuary #catcafe #cat #friendlyfeline #crazycat

haus of neko

#catsanctuary #catcafe #cat #friendlyfeline #crazycat

haus of neko

#catsanctuary #catcafe #cat #friendlyfeline #crazycat

haus of neko

#catsanctuary #catcafe #cat #friendlyfeline #crazycat

haus of neko

#catsanctuary #catcafe #cat #friendlyfeline #crazycat

haus of neko

#catsanctuary #catcafe #cat #friendlyfeline #crazycat

haus of neko

#catsanctuary #catcafe #cat #friendlyfeline #crazycat

haus of neko

#catsanctuary #catcafe #cat #friendlyfeline #crazycat

haus of neko

#catsanctuary #catcafe #cat #friendlyfeline #crazycat

haus of neko

#catsanctuary #catcafe #cat #friendlyfeline #crazycat