Tag Archives: commercials

Director Lee J. Ford joins Interrogate

Director Lee J. Ford has joined LA/NY/Sydney-based production house Interrogate. A British native, Ford worked as a creative in the advertising industry for years before pivoting to directing. Ford’s agency experience allows him to “understand the politics and daily struggles the creatives are facing throughout the process and will continue to face” long after he’s done directing the piece.

Ford’s interest in film started early. He grew up next to a video store and would stay up late re-watching The Hills Have Eyes, The Exorcist, Exterminator and other banned-in-the-UK movies until he failed his classes. This led him to drop out and go to art school to study graphic design. Studying at The University of Brighton and the Central Saint Martins school of art helped inform Ford’s preferred minimalist aesthetic, and gave him his first hands-on experience with art direction.

After graduation, Ford worked his way through the advertising industry as a creative, with stints at various ad agencies, including 180 Amsterdam, Ogilvy London, TBWA London and Saatchi & Saatchi London, to name a few. While he ended up as a creative director, Ford never forgot his dream of directing, so when the opportunity to direct Top Gear came his way while working at an agency in Amsterdam, Ford jumped at the chance.

His work includes a New African Icons for SportsPesa, a spot for Audi, and a short film for fashion designer Roland Mouret based on Mouret’s childhood memories of watching his father, who was a butcher.

Ford, who was previously repped by Prettybird in the US and UK, knew Interrogate was the right home for him when he met executive producers and partners George Meeker and Jeff Miller. Their first project together was a spot for Blizzard Games’ Diablo III out of Omelet LA.

MPC directs, provides VFX, color for Fiji Water spot

To launch the new Fiji Sports Cap bottle, Wonderful Agency came up with the concept of a drop of rain from the clouds high above Fiji making its way down through the pristine environment to showcase the source of their water. The story then transitions to the Fiji Water Sports Cap bottle being used by athletes during a tough workout.

To bring that idea to life, Wonderful Agency turned to MPC with creative director Michael Gregory, who made making his MPC directorial debut, helming both spots while also leading his VFX team. These spots will air on primetime television.

Gregory’s skills in visual effects made him the perfect fit as director of the spots, since it was essential to seamlessly depict the raindrop’s fast-paced journey through the different environments. MPC was tasked with building the CG water droplet that falls from the sky, while reflecting and magnifying the beauty of the scenes shot in Fiji.

“It was key to film in low light, cloudy conditions in Fiji,” explains Gregory. “We shot over five days with a drone in the most remote parts of the main island, taking the drone above the clouds and shooting many different angles on the descent, so we had all the textures and plates we needed.”

For the Fiji section, Gregory and team used the Zenmuse X7 camera that sits on a DJI Inspire 2 drone. “We chose this because logistically it was easier to get it to Fiji by plane. It’s a much smaller drone and isn’t as battery-hungry. You can only travel with a certain amount of batteries on a plane, and the larger drones that carry the Reds and Alexas would need the batteries shipped by sea. Being smaller meant it had much longer flying times. That meant we could have it in the air at height for much longer periods. The footage was edited in Adobe Premiere.”

MPC’s VFX team then got to work. According to lead compositor Oliver Caiden, “The raindrop itself was simulated CG geometry that then had all of the different textures refracted through the UV map. This process was also applied to the droplet reflections, mapping high dynamic range skies onto the outside, so we could achieve a more immersive and richer effect.”

This process enabled the compositors to animate the raindrops and have full control over motion blur, depth of focus, refraction and reflections, making them as realistic and multifaceted as possible. The shots were a mixture of multiple plates, matte painting, 2D and CG clouds, which ultimately created a sequence that felt seamless with reality. The spot was graded by MPC’s colorist Ricky Gausis.

The tools used by MPC were Autodesk Maya, Side Effects Houdini, Adobe Photoshop as well as Foundry Nuke for the VFX and FilmLight Baselight for color.

The latest Fiji campaign marks a continued partnership between MPC and Wonderful Agency — they previously handled VFX for Wonderful Pistachios and Wonderful Halos spots — but this latest campaign sees MPC managing the production from start to finish.

Therapy Studios provided the final audio mix.

 

Carbon creates four animated thrill ride spots

Carbon was called on once again by agency Cramer-Krasselt to create four spots — Railblazer, Twisted Timbers, Steel Vengeance and HangTime — for Cedar Fair Entertainment Company, which owns and operates 11 amusement parks across North America.

Following the success of Carbon’s creepy 2017 teaser film for the ride Mystic Timbers, Cramer-Krasselt senior art director David Vaca and his team presented Carbon with four ideas, each a deep dive into the themes and backstories of the rides.

Working across four 30-second films simultaneously and leading a “tri-coastal” team of artists, CD Liam Chapple shared directing duties with lead artists Tim Little and Gary Fouchy. The studio has offices in NYC, LA and Chicago.

According to Carbon executive producer/managing director Phil Linturn, “We soaked each script in the visual language, color grades, camera framing and edits reminiscent of our key inspiration films for each world — a lone gun-slinger arriving to town at sundown in the wild west, the carefree and nostalgic surf culture of California, and extreme off-roading adventures in the twisting canyons of the southwest.”

Carbon’s technical approach to these films was dictated by the fast turnaround and having all films in production at the same time. To achieve the richness, tone and detail required to immerse the viewer in these worlds, Carbon blended stylized CGI with hyper-real matte paintings and realistic lighting to create a look somewhere between their favorite children’s storybooks, contemporary manga animation, the Spaghetti Westerns of Sergio Leone and one or two of their favorite Pixar films.

Carbon called on Side Effects Houdini (partially for their procedural ocean toolkit), Autodesk Maya’s nCloth and 3ds Max, Pixologic’s Zbrush for 3D sculpting and matte painting, Foundry’s Nuke and FilmLight’s Baselight for color.

“We always love working with Cramer-Krasselt,” concludes Linturn. “They come with awesome concepts and an open mind, challenging us to surprise them with each new deck. This was a fantastic opportunity to expand on our body of full CGI-direction work and to explore some interesting looks and styles. It also allowed us to come up with some very creative workflows across all three offices and to achieve two minutes of animation in just a few weeks. The fact that these four films are part of a much bigger broadcast campaign comprising 70-plus broadcast spots is a testament to the focus and range of the production team.”

Behind the Title: Lucky Post editor Elizabeth V. Moore

NAME: Elizabeth V. Moore

COMPANY: Lucky Post

CAN YOU DESCRIBE YOUR COMPANY?
The studio combines creative editorial, graphic design, sound design, mixing, color, compositing,VFX and finish

I feel very lucky to call Lucky my home for the past five and a half years. It’s a collection of driven co-workers who truly interact like a team. Together, we infuse art and care into the projects that come through our office.

WHAT’S YOUR JOB TITLE?
I am one of the four editors here.

WHAT DOES THAT ENTAIL?
I work with clients to take their concept and make it a reality. With the footage I’m provided, I get to be a storyteller. I add my creative perspective and collaborate with clients to craft a story or message that is hopefully even better than what they had envisioned possible.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
A big part of my job includes spending a lot of time with my clients as we work toward a cut we’re all happy with. It’s not just me in a room by myself, editing. There’s a responsibility to your clients not just to edit something for them, but also to help facilitate a space where they feel comfortable and are happy to come to every day. My goal is to have them leave Lucky Post at the end of the day confident in the cut and feeling good in general… with smiles on their faces.

WHAT’S YOUR FAVORITE PART OF THE JOB?
My favorite part of the job is seeing the edit take shape… to get to the end of a project and see the final resul, and reflect on what it took for that to manifest. That is a very satisfying feeling.

This CostaDelMar Slam spot is a recent project edited by Moore.

WHAT’S YOUR LEAST FAVORITE?
I try not to focus too much on my least favorite aspects of anything, but if pressed I’d have to say going through footage and making selects. I feel anxious to start my favorite part of the job — seeing the edit take shape — but in order to get the best result you have to focus and find the best pieces amidst all the content.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
I wouldn’t consider myself a morning person, so I’d have to say early afternoon. When I have a deadline to hit, however, late at night is when I can really surprise myself with the amount and quality of work I can produce under pressure.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I’ve asked myself that question, and I honestly can’t think of a better answer than what I’m doing now. Even though I had no idea when I was younger that this is where I’d end up, in retrospect, it makes the most sense.

My personal set of talents and interests throughout my development have helped give me the arsenal of skills it takes to enjoy editing and do it well.

SO YOU DIDN’T KNOW THIS WOULD BE YOUR PATH?
I didn’t have any idea I would end up in this career until college. I was originally a business major with a minor in film, because I always loved movies. Quickly into my first semester it dawned on me that I could actually pursue a career in something I was passionate about, not just what I thought was expected of me. I switched to film and, as I learned more about all the different departments, I knew editing was where my talents and skills could thrive. And the more I did it, the more I fell in love with the art.

AS A WOMAN EDITOR, WHO DID YOU LOOK UP TO WHEN STARTING OUT?
I didn’t think too much about who I looked up to based on being a woman. I had my films and editors that inspired me and I aspired to emulate editorially. However, I would say that my biggest female inspiration was editor Sally Menke (who died in an accident in 2010). Pulp Fiction was one of my favorite movies at the time, and the way the story was edited and structured was a large part of that.

Once I looked deeper into her career, I realized she was the editor for all of Quentin Tarantino’s films. It inspired me greatly that she was able to not only be an editor during a time that was very much a male-dominated field, but also maintain an ongoing, collaborative relationship that shaped both of their careers. I wanted to be the kind of editor that was not only worth working with, but worth working with again and again.

HOW DO YOU FEEL ABOUT THE MEDIA CHAMPIONING MORE FEMALE CREATIVES AND LEADERS IN OUR INDUSTRY?
I think it’s extremely important. To continue to push our industry to greater heights, new and different perspectives are needed to keep things evolving and growing. Media plays a big role in our society and culture, and women need to be well represented and their voices heard. Similar to my own story, a lot of opportunities are missed if they’re unknown or seem impossible. More women in leadership and creative positions will help young women see themselves in these roles.

WHAT SHOULD OR CAN WE DO TO ENCOURAGE MORE WOMEN TO BECOME EDITORS?
To be an editor, you have to be passionate about it and love the process. We can’t make women be interested in the art, but we can reinforce the confidence in the ones who are. We have to be the ones to say, “There’s no reason to be intimidated by pursuing this career path. This industry is always looking for fresh, original perspectives and we, as women, have a unique voice to offer. The quality of your craft will speak for itself and that is what will draw clients to work with you.”

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Within the past year I’ve worked on campaigns for Crate & Barrel, Charles Schwab, AT&T and Soraa.

YOU HAVE WORKED ON ALL SORTS OF PROJECTS. DO YOU PUT ON A DIFFERENT HAT WHEN CUTTING FOR A SPECIFIC GENRE?
I wouldn’t say that I wear a different hat when working on different genres, because at the end of the day the goal is the same: to tell a good story in as creative a way as the content allows.

However, what I’m looking for out of the footage will change depending on the type of project. So much of my select-making process is based on feelings that arise while viewing a scene. I select the pieces that give me the reaction I want the audience to feel based on the genre of the piece.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I have a different sense of pride for all the projects I work on. Sometimes it’s because of the level of quality of the work, and sometimes it’s because of the challenges that had to be overcome. But I’d say that I’m still most proud of one of my first pieces I did at Lucky Post. It was back when I was an assistant editor; I was given access to footage for a music video for a musician named Jesse Woods and was told to just have fun with it and use it as an opportunity to practice.

Even though I wasn’t the official editor on it, I took the challenge seriously and spent hours exploring possibilities, pushing my craft farther than I ever had to that point. The director was impressed enough that it became the final cut he and the artist used. I still look back on that as one of the most beautiful pieces I’ve produced. It was the turning point in my career, where not only did others see and recognize my talent, but I saw what I was capable of and this gave me the confidence that led me to where I am now.

WHAT DO YOU USE TO EDIT?
I’ve used a few different editing software programs throughout my career and my favorite, and what I currently use, is Adobe Premiere Pro.

ARE YOU OFTEN ASKED TO DO MORE THAN EDIT?
Even though I’m only asked to edit, a big part of my job includes spending a lot of time with my clients as we work toward a final cut. Sometimes that means being a good listener or a positive force for them when things get stressful.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
A computer is number one, since I can’t edit without it. I’d like to believe I’d still be interested in the art of editing if I had to do it via the cut and splice method, but it would be a very different process and experience for me. Second would be my television. I love watching great movies, shows and well-done commercials, so it’s both a leisure activity and it inspires me as an editor. Lastly, my cell phone because we now live in a society where it’s becoming hard to work and stay connected without it.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Besides my passion for the visual arts, like movies, my favorite escape is music. I love to go to shows to see live bands or get lost in music being played by DJs and dance. When I’m in those moments, all the stress from the week is forgotten and I’m living in the present.

VFX house Kevin adds three industry veterans

Venice, California-based visual effects house Kevin, founded by Tim Davies, Sue Troyan and Darcy Parsons, has beefed up its team even further with the hiring of head of CG Mike Dalzell, VFX supervisor Theo Maniatis and head of technology Carl Loeffler. This three-month-old studio has already worked on spots for Jaguar, Land Rover, Target and Old Spice, and is currently working on a series of commercials for the Super Bowl.

Dalzell brings years of experience as a CG supervisor and lead artist — he started as a 3D generalist before focusing on look development and lighting — at top creative studios including Digital Domain, MPC and Psyop, The Mill, Sony Imageworks and Method. He was instrumental in look development for VFX Gold Clio and British Arrow-winner Call of Duty Seize Glory and GE’s Childlike Imagination. He has also worked on commercials for Nissan, BMW, Lexus, Visa, Cars.com, Air Force and others. Early on, Dalzell honed his skills on music videos in Toronto, and then on feature films such as Iron Man 3 and The Matrix movies, as well as The Curious Case of Benjamin Button.

Maniatis, a Flame artist and on-set VFX supervisor, has a wide breadth of experience in the US, London and his native Sydney. “Tim [Davies] and I used to work together back in Australia, so reconnecting with him and moving to LA has been a blast.”

Maniatis’s work includes spots for Apple Watch 3 + Apple Music’s Roll (directed by Sam Brown), TAG Heuer’s To Jack (directed by and featuring Patrick Dempsey), Destiny 2’s Rally the Troops and Titanfall 2’s Become One (via Blur Studios), and PlayStation VR’s Batman Arkham and Axe’s Office Love, both directed by Filip Engstrom. Prior to joining Kevin, Maniatis worked with Blur Studios, Psyop, The Mill, Art Jail and Framestore.

Loeffler is creating the studio’s production model using the latest Autodesk Flame systems, high-end 3D workstations and render nodes and putting new networking and storage systems into place. Kevin’s new Culver City studio will open its doors in Q1, 2018 and Loeffler will guide the current growth in both hardware and software, plan for the future and make sure Kevin’s studio is optimized for the needs of production. He has over two decades of experience building out and expanding the technologies for facilities including MPC and Technicolor.

Image: (L-R) Mike Dalzell, Carl Loeffler and Theo Maniatis.

Behind the Title: Prism director Nick Spooner

NAME: Nick Spooner

COMPANY: Brooklyn-based Prism

CAN YOU DESCRIBE YOUR COMPANY?
Prism is a production company and creative studio, with the ability to tell brand-building stories across the full spectrum of disciplines. From traditional commercial and branded content to emerging technologies, interactive live experiences and installations.

WHAT’S YOUR JOB TITLE?
Director

WHAT DOES THAT ENTAIL?
I basically make product-driven stories to help cheer up sad consumers. Whatever the ratio, format or platform.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
That the Director’s Guild doesn’t supply us with personalized monocles and jodhpurs!

It’s far less glamorous than you might think. There’s a ton of work – on spec – that’s required to just win a job in the first place. If you do get the gig, every project then requires an intense focus and attention to detail, with an increasingly short amount of time for production. And a large part of that time is spent accommodating many different opinions, personalities and expectations, all in the interest of making an effective, funny commercial.

Directors are not alone in the process of making content of any kind, and I think that’s where some encounter difficulties, when they aren’t comfortable with the necessary, collaborative side of the business. You might be a great director, but if you can’t handle the “people” aspect of making commercials, you won’t last very long. But that’s just my take on it. Maybe I’m doing it wrong.

WHAT’S YOUR FAVORITE PART OF THE JOB?
My favorite part of the job is when a take cracks up the crew. That’s when you know you’ve got something good.

WHAT’S YOUR LEAST FAVORITE?
About 15 minutes after wrap, when the afterglow begins to subside.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I’d probably be a P.A. trying to figure out how to get this job.

WHY DID YOU CHOOSE THIS PROFESSION?
I acted in local commercials as a kid, and everyone on the set seemed to be having a good time. I pretty much knew then that I wanted in.

WHAT WAS IT ABOUT DIRECTING THAT ATTRACTED YOU?
The personalized monocles and jodhpurs. Imagine my disappointment when neither were forthcoming.

Nick Spooner directed the sci-fi/thriller short, The Call of Charlie.

WHAT IS IT ABOUT DIRECTING THAT CONTINUES TO KEEP YOU INTERESTED?
Every job presents a new creative and production puzzle, and I love solving them. For me, being on the set – especially when working with actors — provides a performance-based adrenaline rush that’s like playing onstage in a hardcore band, or acting in a live theatrical performance (both of which I’ve done). It’s addictive.

HOW DO YOU PICK THE PEOPLE YOU WORK WITH ON A PARTICULAR PROJECT?
That is actually both the best and worst part of the business. If you’ve been doing it a while, you accumulate a roster of great talent — actors, DPs, production designers, casting directors, grips, gaffers, stylists and so on — who you value as professionals and like as people.

The downside is you can’t hire everyone on every job, which can lead to a lot of people having The Sadz. It’s a bummer. And then there are always new folks you want to work with. But if it’s any consolation, the same exact thing happens to directors with agencies.

Every project starts with getting the right DP on board, and his or her go-to keys. Depending upon what city or country we’re in, I then have my favorite crewmembers and production people I like to work with — having shared production experience with crew always saves time and energy on the set. I always work with the same few line producers — they know what I like and don’t like, and I think the ones I work with are the best in the business. As for actors, I prefer to work with new people on every shoot to keep things fresh — recurring ensemble casts for every project only works if you’re Christopher Guest.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I did a fun campaign for CarGurus that’s been airing like crazy, and a recent North Carolina Lottery spot, which is a parody of Home Shopping Network programs — that one was especially fun because it’s presented in a distinctly “non-commercial” form, as if we accidentally switched channels. It’s very odd. Both projects had great casts, which always makes for a fun shoot.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
Usually, I say the one that just wrapped but in general I take a lot of pride in making funny commercials that successfully do what they’re supposed to do: sell a product or promote a brand.

I did a Tide commercial (Princess Dress) that was supposed to run for one cycle more than five years ago, and it’s still airing all over the place. It just won’t go away. And there is the CarGurus campaign I did that helped the company launch Boston’s first tech IPO of 2017 – I don’t understand what any of that means, but I’ve been told it’s a big deal.

Non-commercially, I did a dark comedy based on H.P. Lovecraft’s Cthulhu Mythos, which has played in 84 festivals around the world and won more than 40 awards. That’s been pleasantly humblebraggy. Last year I directed my first short film called The Call of Charlie.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Netflix, my laptop, and my robot spouse.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Wait…I’m allowed to do that?

Saddington Baynes adds senior lighting artist Luis Cardoso

Creative production house Saddington Baynes has hired Luis Cardoso as a senior lighting artist, adding to the studio’s creative team with specialist CGI skills in luxury goods, beauty and cosmetics. He joins the team following a four-year stint at Burberry, where he worked on high-end CGI.

He specializes in Autodesk 3ds Max, Chaos Group’s V-Ray and Adobe Photoshop. Cardoso’s past work includes imagery for all Burberry fragrances, clothing and accessories and social media assets for the Pinterest Cat Lashes campaign. He also has experience under his belt as senior CG artist at Sectorlight, and later in his career Assembly Studios.

At Saddington Baynes, Cardoso will be working on new motion cinematic sequences for online video to expand the beauty, fragrance, fashion and beverage departments and take the expertise further, particularly in regards to video lighting.

According to executive creative director James Digby-Jones, “It no longer matters whether elements are static or moving; whether the brief is for a 20,000-pixel image or 4K animation mixed with live action. We stretch creative and technical boundaries with fully integrated production that encompasses everything from CGI and motion to shoot production and VR capability.”

Sonic Union adds Bryant Park studio targeting immersive, broadcast work

New York audio house Sonic Union has launched a new studio and creative lab. The uptown location, which overlooks Bryant Park, will focus on emerging spatial and interactive audio work, as well as continued work with broadcast clients. The expansion is led by principal mix engineer/sound designer Joe O’Connell, now partnered with original Sonic Union founders/mix engineers Michael Marinelli and Steve Rosen and their staff, who will work out of both its Union Square and Bryant Park locations. O’Connell helmed sound company Blast as co-founder, and has now teamed up with Sonic Union.

In other staffing news, mix engineer Owen Shearer advances to also serve as technical director, with an emphasis on VR and immersive audio. Former Blast EP Carolyn Mandlavitz has joined as Sonic Union Bryant Park studio director. Executive creative producer Halle Petro, formerly senior producer at Nylon Studios, will support both locations.

The new studio, which features three Dolby Atmos rooms, was created and developed by Ilan Ohayon of IOAD (Architect of Record), with architectural design by Raya Ani of RAW-NYC. Ani also designed Sonic’s Union Square studio.

“We’re installing over 30 of the new ‘active’ JBL System 7 speakers,” reports O’Connell. “Our order includes some of the first of these amazing self-powered speakers. JBL flew a technician from Indianapolis to personally inspect each one on site to ensure it will perform as intended for our launch. Additionally, we created our own proprietary mounting hardware for the installation as JBL is still in development with their own. We’ll also be running the latest release of Pro Tools (12.8) featuring tools for Dolby Atmos and other immersive applications. These types of installations really are not easy as retrofits. We have been able to do something really unique, flexible and highly functional by building from scratch.”

Working as one team across two locations, this emerging creative audio production arm will also include a roster of talent outside of the core staff engineering roles. The team will now be integrated to handle non-traditional immersive VR, AR and experiential audio planning and coding, in addition to casting, production music supervision, extended sound design and production assignments.

Main Image Caption: (L-R) Halle Petro, Steve Rosen, Owen Shearer, Joe O’Connell, Adam Barone, Carolyn Mandlavitz, Brian Goodheart, Michael Marinelli and Eugene Green.

 

Deb Oh joins Nylon Studios from Y&R

Music and sound boutique Nylon Studios, which has offices in NYC and Sydney, has added Deb Oh as senior producer. A classically trained musician, Oh has almost a decade of experience in the commercial music space, working as a music supervisor and producer on both the agency and studio sides.

She comes to Nylon from Y&R, where she spent two years working as a music producer for Dell, Xerox, Special Olympics, Activia and Optum, among others. Outside of the studio, Oh has continued to pursue music, regularly writing and performing with her band Deb Oh & The Cavaliers and serving as music supervisor for the iTunes podcast series, “Limetown.”

A lifelong musician, Oh grew up learning classical piano and singing at a very early age. She began writing and performing her own music in high school and kept up her musical endeavors while studying Political Science at NYU. Following graduation, she made the leap to follow her passion for music full time, landing as a client service coordinator at Headroom. She was then promoted to music supervisor. After five years with the audio shop, she made the leap to the agency side to broaden her skillset and glean perspective into the landscape of vendors, labels and publishers in the commercial music industry.

 

Digging Deeper: The Mill Chicago’s head of color Luke Morrison

A native Londoner, Morrison started his career at The Mill where worked on music videos and commercials. In 2013, he moved across to the Midwest to head up The Mill Chicago’s color department.

Since then, Morrison has worked on campaigns for Beats, Prada, Jeep, Miller, Porsche, State Farm, Wrigley’s Extra Gum and a VR film for Jack Daniel’s.

Let’s find out more about Morrison.

How early on did you know color would be your path?
I started off, like so many at The Mill, as a runner. I initially thought I wanted to get into 3D, and after a month of modeling a photoreal screwdriver I realized that wasn’t the path for me. Luckily, I poked my nose into the color suites and saw them working with neg and lacing up the Spirit telecine. I was immediately drawn to it. It resonated with me and with my love of photography.

You are also a photographer?
Yes, I actually take pictures all the time. I always carry some sort of camera with me. I’m fortunate to have a father who is a keen photographer and he had a darkroom in our house when I was young. I was always fascinated with what he was doing up there, in the “red room.”

Photography for me is all about looking at your surroundings and capturing or documenting life and sharing it with other people. I started a photography club at The Mill, S35, because I wanted to share that part of my passion with people. I find as a ‘creative’ you need to have other outlets to feed into other parts of you. S35 is about inspiring people — friends, colleagues, clients — to go back to the classic, irreplaceable practice of using 35mm film and start to consider photography in a different way than the current trends.

State Farm

In 2013, you moved from London to Chicago. Are the markets different and did anything change?
Yes and no. I personally haven’t changed my style to suit or accommodate the different market. I think it’s one of the things that appeals to my clients. Chicago, however, has quite a different market than in the UK. Here, post production is more agency led and directors aren’t always involved in the process. In that kind of environment, there is a bigger role for the colorist to play in carrying the director’s vision through or setting the tone of the “look.”

I still strive to keep that collaboration with the director and DP in the color session whether it’s a phone call to discuss ahead of the session, doing some grade tests or looping them in with a remote grade session. There is definitely a difference in the suite dynamics, too. I found very quickly I had to communicate and translate the client’s and my creative intent differently here.

What sort of content do you work on?
We work on commercials, music promos, episodics and features, but always have an eye on new ways to tell narratives. That’s where the pioneering work in the emerging technology field comes into play. We’re no longer limited and are constantly looking for creative ways to remain at the forefront of creation for VR, AR, MR and experiential installations. It’s really exciting to watch it develop and to be a part of it. When Jack Daniel’s and DFCB Chicago approached us to create a VR experience taking the viewer to the Jack Daniel’s distillery in Kentucky, we leapt at the chance.

Do you like a variety of projects?
Who doesn’t? It’s always nice to be working on a variety, keeping things fresh and pushing yourself creatively. We’ve moved into grading more feature projects and episodic work recently, which has been an exciting way to be creatively and technically challenged. Most recently, I’ve had a lot of fun grading some comedy specials, one for Jerrod Carmichael and one for Hasan Minhaj. This job is ever-changing, be it thanks to evolving technology, new clients or challenging projects. That’s one of the many things I love about it.

Toronto Maple Leafs

You recently won two AICE awards for best color for your grade on the Toronto Maple Leafs’ spot Wise Man. Can you talk about that?
It was such a special project to collaborate on. I’ve been working with Ian Pons Jewell, who directed it, for many years now. We met way back in the day in London, when I was a color assistant. He would trade me deli meats and cheeses from his travels to do grades for him! That shared history made the AICE awards all the more special. It’s incredible to have continued to build that relationship and see how each of us have grown in our careers. Those kinds of partnerships are what I strive to do with every single client and job that comes through my suite.

When it comes to color grading commercials, what are the main principles?
For me, it’s always important to understand the idea, the creative intent and the tone of the spot. Once you understand that, it influences your decisions, dictates how you’ll approach the grade and what options you’ll offer the client. Then, it’s about crafting the grade appropriately and building on that.

You use FilmLight Baselight, what do your clients like most about what you can provide with that system?
Clients are always impressed with the speed at which I’m able to address their comments and react to things almost before they’ve said them. The tracker always gets a few “ooooooh’s” or “ahhhh’s.” It’s like they’re watching fireworks or something!

How do you keep current with emerging technologies?
That’s the amazing thing about working at The Mill: we’re makers and creators for all media. Our Emerging Technologies team is constantly looking for new ways to tell stories and collaborate with our clients, whether it’s branded content or passion projects, using all technologies at our disposal: anything is at our fingertips, even a Pop Llama.

Name three pieces of technology you can’t live without.
Well, I’ve got to have my Contax T2, an alarm clock, otherwise I’d never be anywhere on time, and my bicycle.

Would you say you are a “technical” colorist or would you rather prioritize instincts?
It’s all about instincts! I’m into the technical side, but I’m mostly driven by my instincts. It’s all about feeling and that comes from creating the correct environment in the suite, having a good kick off chat with clients, banging on the tunes and spinning the balls.

Where do you find inspiration?
I find a lot of inspiration from just being outside. It might sound like a cliché but travel is massive for me, and that goes hand in hand with my photography. I think it’s important to change your surroundings, be it traveling to Japan or just taking a different route to the studio. The change keeps me engaged in my surroundings, asking questions and stimulating my imagination.

What do you do to de-stress from it all?
Riding my bike is my main thing. I usually do a 30-mile ride a few mornings a week and then 50 to 100 miles at the weekend. Riding keeps you constantly focused on that one thing, so it’s a great way to de-stress and clear your mind.

What’s next for you?
I’ve got some great projects coming up that I’m excited about. But outside of the suite, I’ll be riding in this year’s 10th Annual Fireflies West ride. For the past 10 years, Fireflies West participants have embarked on a journey from San Francisco to Los Angeles in support of City of Hope. This year’s ride has the added challenge of an extra day tacked onto it making the ride 650 miles in total over seven days, so…I best get training! (See postPerspectives’ recent coverage on the ride.)