Canon 7D Suzuki Spot by Seth Epstein – Pt 3

Seth Epstein from The Group Digital Agency answered my email questions with this great write up about his experience shooting a Suzuki ad spot using Canon 7D cameras. Part 1 was a breakdown of the production and actual shoot day, Part 2 was all about post issues. Up next is part 3 which is about how he pitched the job and set up the shot list.

I have seen a lot of information and behind the scenes footage for video DSLR shoots, but this is the first time I have seen someone sharing their complete process from inception through to delivery. A lot of the discussion in the forums and on blogs like PCN have been about how to use the technology. The next conversation needs to be – “how do we make money shooting motion with video DSLRs”? Monetizing this newly available technology is really the big question. How do you go from still photographer to filmmaker? Where does a creative visual person fit into the motion world as the barrier to entry lowers? Seth provides a good roadmap to achieving micro production. This shoot was for an online ad and had a budget that would have given most large agencies pause. As a matter of fact, I would bet this level of ad couldn’t have easily been achieved without the use of video DSLRs and a micro production approach.

Part 3 really gives us a look at the work that went into the concepts for this spot. Seth didn’t just get handed the job because of his past experiences or portfolio. He had to present his ideas in a framework that the client could understand and that the small crew could get behind. Being able to story board and present pitch treatments are the skills needed to move visual ideas into paid motion jobs. Take a look at what Seth went through to present his ideas before he began shooting.

Much of the concept through pre-pro followed a standard agency process. I presented 8, yes 8 conceptual directions using “tear sheets” to visualize them. The spot did not need voice over and was meant to be a visual feast … all about desire really. 

Once the client decided on the direction, “SPY”, then came the need to block shots and storyboard the spot. Normally, there is a pretty open flow of communication with either the agency or client but in this case, I was working with an intermediary production co. in Japan which had an on the ground producer here in LA. Due to time zones and primarily different ways of working, the amount of back and forth through out the process was very high. Often we would think we understood feedback, but upon delivering on a request, hear back that what they meant was different. 

Back to boards. I visualized the what the shots might be, even though we had not locked down locations. I do sketches with notes – In this case, there was no linear story, so my boards were rough framings of the type of shots or angles. I watched movies with great chase or motorcycle scenes as well as watching spots to inspire ideas for shots, lighting, framing, etc….

The Japanese Agency presented a cleaned up version of my drawn boards. Usually, I would bring in a stoyboard artist to sit with me to work off my sketches or reference, but in this case, I did not have a budget for that.

Obviously a lot of thought and hard work went into getting this job off the ground. I would like to thank Seth for sharing this information with PCN. Be sure to check out his other videos on Vimeo as well as his companies website.