ICE CREAM POLAR PIZZA SHOOT

Who wouldn’t want to grab a Baskin-Robbins Polar Pizza slice after watching this!? Enjoy!

Check out the final video above!

Some of the behind the scene shots of our Baskin Robbins Polar Pizza. Took Michael and the team 3 days to shoot the sequences needed to make the cut. Each flavor was shot separately and edited in post to give that final polished look. Momentum, music, rhythm, appetite appeal, and the flow of the video are qualities that we focused on highlighting. In total there are 49 actual shots to create this 30 second video, however we took 2-3 takes per shot.

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Something that looks simple in a video may be quite complex to shoot. Applying math is an indispensable way of accomplishing such a task. Image above shows how we divided up each slice and marked them numerically for an action sequence. In the final video clip, you can see the results of this kind of math in action.

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At the end of the day, it is about getting the shot and getting it right. Executing creative ideas take a lot of “thinking outside the box”. This is just a casual example of the things we use to get the shots we want.

Very cool slow motion behind the scenes video of Jayna dropping the candy pieces on top of the Polar Pizza (below)! See the clip in the final Polar Pizza video at 0.07 seconds in (above).

THE 2016 HATCH AWARDS: DIGITAL VIDEO HONORED WITH MERIT

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We always love being able to collaborate with great teams on exciting projects, and the caduceus video we made for NAIL Communications was no different. When we heard they were entered our video collaboration to the Hatch Awards in the category of “Digital : Video Short Form Single Entry” and that it was awarded a merit, we were so proud we just had to share! You can check out some behind the scenes on our blog post on it.

Be sure to check out the honored video:

 

GETTING ALL THE ANGLES: VIDEO INTERVIEW SERIES

High end video equipment and a focused group of creative people is what Michael Indresano Photography brought to this multi-day shoot. We worked with corporate executives on a series of interviews. Multiple cameras means multiple perspectives but we never lost sight of the project goal – to make an awesome video.

The famed Sony F55, Sony F5 and their little cousin the Sony FS7 all in attendance at the shoot!

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Managing the complexity of a video set means getting everything spot on.

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We also have to get the lighting just right. With a combination of natural light from the full windows in the hallways and some small but powerful LED panels, we were able to achieve it!

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Walking by outside, someone would certainly be curious about what was happening!

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Smile for the camera! Using a dolly is always a great way to get some nice, dynamic shots!

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After everything was set up, we had our team member sit in the interviewee chair so we could make our final tweaks and make sure everything was perfect.

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Here is a glimpse into the real behind the scenes of a shoot. All the equipment and manpower involved into making a video is quite remarkable. Next time you see a commercial or video, think about all the work and people that come together to create the thing you are watching.

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EXPLOSIVE VIDEOGRAPHY AND PHOTOGRAPHY

We always love an adventure, and when we were preparing for a recent photo shoot and full video production, we know we had one! We were all blown away by the final product:

To go along with the video series, the client also wanted some photography work done. The goal was dramatic and sleek looking images to promote a health care leadership program. Check out some of the images from the series below!

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Next up was the video, which required a lot of components working together in synch. We had to make custom props,  hire pyrotechnicians and  find the highest caliber slo-mo camera to make the shot look just right.

We started our day with the preparation: our pyrotechnician drilled into the back of the mercury staffs  in order to make room for the explosives.

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Back inside, his son (and partner), was gluing in the detonation cord, or det cord for short. It might look like harmless laces or rope, but it packs some serious power!

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The finished product was prepped for the shoot by being strung up in midair.

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In order to capture all the details of the blast, we needed a camera with a very high frame per second, like the Phantom Flex shown below.

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Explosions are messy; we had to make sure we protected the camera behind some plexy! Cleaning between takes definitely took some time but the final product was well worth it.

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After the explosive shots, we needed some shots of the aftermath as well. After switching the Phantom to the dolly we were ready for action!

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Before breaking down our explosive set, we couldn’t help but experiment with a few other products. Check out the video below!