Samsung: “LeBron Always On”


LONG-FORM COMMERCIAL
ROLE: Senior Flame Artist / VFX Compositor
VENDOR: The Mission
AGENCY: 72andSunny
PRODUCTION CO: Park Pictures
DIRECTOR: Lance Accord

This is the longest Samsung spot I worked on, during my permalancer days at the Mission. It’s mostly a found footage celebration of then-product sponsor LeBron James, with some original shots peppered throughout, and the requisite endtag product shot.

Being found footage, there was a fair share of cleanup, particularly in the NBA game footage, but also in background signage and product logos. Also, there was a fair amount of screen comps throughout … phones, tablets, flat screens, etc. I was one of six that handled the workload.

Lastly, as was now my M.O., I tackled the endcard, this round being assembled from turntable footage that needed to be rebuilt in 2D to accommodate agency preference. Screen comps, clean-up, glints and glimmers, and a new background space.

Lincoln: “No Other Anything” | “All Things Equal” | “Something”


Lincoln: “No Other Anything”

Lincoln: “All Things Equal”

Lincoln: “Something”

COMMERCIAL
ROLE: Senior Flame Artist / VFX Compositor
VENDOR: Public VFX
CLIENT: Lincoln, Ford
AGENCY: Team Detroit
DIRECTOR: Lance Accord

Lincoln gets a facelift for their luxury brand of vehicles, with the help of John Slattery, aka “Mad Men’s” Roger Sterling. Interesting that an actor portraying an ad man is the one doing the actual selling this time around. Prophetic, serendipitous, or simply ironic?

These three spots were primarily a 2D job done in Flame, with 3D support in the form of hold out mattes (from tracked geo), match-moved floor textures, and additional camera tracks to integrate matte paintings.

There were the usual suspects – removal of camera car reflections; replacement of dashboard monitors; and tinting of windows, and brightening of headlights.

A few flopped plates were introduced, as well, requiring correction of badges, license plates, and additional body features, so as not to read backwards.

Also, sets needed to be re-lit through color correction, using camera tracks and mattes projected on cards. And in a few instances of Slattery in the driver’s seat, motion blur needed to be removed after stabilization. That was a bit tricky, since there’s quite a bit of detail in his facial features, and he’s also delivering dialogue.