JEH won a Gold ADDY award in the Best Single TV Category for the 2010 Alamo Bowl spot “BIG”.
When the project first kicked off, we knew the client wanted something visually catching, at a low cost and with a fast turn-around. Based on their goals, we felt a heavy post-production workflow would fit the need and yield the highest production value. By using only a series of still images, we were able to deliver quickly and on budget, while still be visually stunning.
Dirk Mitchell, creative director of The Atkins Group, led the creative and brought his seasoned chops to the concept and the script. Photographer Marks Moore captured the beautiful images of San Antonio as well as the props that were later comped in to look larger than life. Director Tony Gallardo had his hands drenched in key-frames and layers, while leading the overall post production process. Other artists/technicians on the team included Chris Haley and Marco Rabadan.
Some say that JEH Productions has a Production Fairy. The nature of production, we all know, encourages unforeseen conflicts and problems. Whenever these pop, up the JEH production fairy is expected to report for duty. So get this: Tony and Marcs are downtown snapping pictures in the middle of the road because (of course), that's where the money shot is. Tony is cautiously diverting traffic out of the occupied lane when a car pulls up that does not wish to go around. It's an undercover police car. Officer parks his car, gets out and approaches our friends with the all-powerful cop strut.
Officer: "How are you doin' fellas?"
Most of us appreciate attention, but when it's coming from a police officer as we're breaking the law, well, we can do without it. So the moment of truth comes with a tense pause.
Officer: "Don't worry, you're not in trouble."
The Production Fairy saved the set. It turns out the officer is in a photography group and just wanted to talk shop. So, they proceeded to chat about the Alamo Bowl project, they talked about f-stops and lenses, and the Art of Photography. The officer later proclaimed that he'd had his photographic eye on our very spot for a while now, and recommended another angle two blocks down.
Problems can be expensive, so the more planning and pre-pro the better. But it's good to know that the Fairy has our back. And if she calls in sick we can call our photo-enthusiast police officer friend. And if he's changed professions, I guess we'll get arrested for you.
Director: Tony Gallardo
Concept/Writer: Dirk Mitchell
Photographer: Marks Moore
Design: Tony Gallardo
After Effects Artists: Tony Gallardo, Chris Haley, and Marco Rabadan
Sound Design: Tony Gallardo
Sound Mix: The Living Room
Tony, "Alright, lets get these prop shots so we can comp them in environments larger then life."
Football is right justified to capture shadow for referance.
Megaphone is right justified to match wide angle effects of the plate.
Dirk, "follow me I found a spot that's exactly what we're going for'.
Tony (director) and Marks (photographer) follow in their unnecesarily expensive productioni vehicle.
What a vantage point...
...we might be able to just get all these shots in camera and not have to composite anything.
These guys were so hard headed when it came to this shoot...
...and because of it captured extraordinary imagery.
Marks, "this spot is perfect."
To get the beauty shots sometimes you have to take risks.
Tony, "there's a police officer behind you, get out of the street".
