#CINE TRACER TRAILER TV#

You providing the 3D scanned burger through Set Designer with such a short notice further helped me to get my point across to the whole team which was great. Thanks for the cool 3D scan, Matt! I half-jokingly had asked you to scan a hamburger since at the time I was prepping for this project. Technical Diagram created with Cine Designer PhysicalД¬ommunicating through previsualizations proved to be particularly effective considering how my gaffer came up with some cool ideas we probably wouldnвЂ™t had time to implement otherwise if we had left it to pre-light.Д¬D: Where did you get that lovely 3D cheeseburger? After that it was pretty straight-forward to throw everything we had planned into Cinema 4D thanks to all the assets available in Set Designer. So we started off by bouncing different ideas from each other like mood, the script, lighting and possible camera moves, and after that set designer made a plan for our set. But the fact that the fast-paced cut planned for the spot meant we had tons and tons of shots to cover while everything had to be polished-looking, simultaneously. JK: Pre-production was crucial considering how many moving parts we had for something what seems like a simple table-top project. It was also important to achieve the feeling as if this took place in a real kitchen environment which in part this dictated a lot how I winded up lighting the set.Д¬D: What was your pre production process like with the director, art department and crew? We visioned this to have a very high sense of energy and inspiration was taken from American musicals for example.

#CINE TRACER TRAILER TV#

Especially since we had very limited time to cover everything we had in mind for this TV spot. JK: Finn and I had worked on only few projects together before this so communication and proper prep were the keys to get this right. ABC вЂњChefвЂ™s BurgerвЂќД¬D: What was the creative and the directors vision/concept for ChefвЂ™s Burger? Until then itвЂ™s all about honing my skills working on spots with wide range of talented directors and finessing my own visual vocabulary in the process. Now, in the future I see myself pushing towards more drama work and eventually lensing my first feature. What resonates with me the most are the moodier and more quiet bodies of work, itвЂ™s always the story which dictates the overall direction. What made me switch to filmmaking is a combination of multiple factors like more in-depth storytelling, audio and how I find movies the most emotion-evoking art form overall. While working on different types of photography commissions I found out my biggest passion lied in lighting, and it was really fascinating to me how it felt possible to manipulate and control light like some kind of invisible fluid.

I had worked towards becoming a concept artist beforehand but after realising my imagination simply wasnвЂ™t vibrant enough for that type of work and meantime landing my first job as photographer for a pretty sizeable magazine at the time, aged 17, I ended up choosing that path instead. My background is in photography where I started my career as a photojournalist 10 years ago. Julius Koivistoinen: Hey! IвЂ™m a cinematographer from Finland currently specialized in medium to large-sized TV commercials. But the problem is creativity doesnвЂ™t flourish that way and previsualisation for me is the way to combat that behavior and open up the possibility to slowly ripen my visions.Д¬inematography Database: Hey Julius, tell us where youвЂ™re from and what kind of work you do. I feel like while many productions try to compress more and more content in a single shoot day there becomes less and less chances for any guesswork on actual set.

Cine tracer trailer