GMC “The Perfect Shot”

GMC “The Perfect Shot”

GMC “The Perfect Shot” | An inside look from pitch to post-production

Nate Gunn is a Salt Lake based visual storyteller with a passion for non-traditional advertising. He helps companies discover new ways to display their message by creating branded content that’s more lifestyle focused, rather than product focused. Nate was kind enough to share the challenges and triumphs of this GMC spot on a photographer’s journey, which incorporates our Luminary and Light Hits 4K packs.

What’s the backstory on this project?

I’ve always wanted to work with car brands, but the competition is brutal. I was so close to not submitting a pitch on this one. In the few months before I had lost a pitch to Ram Trucks and two other great projects that I really wanted. Emotionally I was in a bad place. When you spend a few days writing a treatment, you almost convince yourself that it’s already your project, and so the losses hurt.

“…it was a risk, but I think that’s what they’re looking for sometimes.”

I decided to go for it and just do me. I think I was up against 30+ directors and I pitched something that was far from the creative, it was a risk, but I think that’s what they’re looking for sometimes. All too often I’m trying to just give the brand or agency what they want to hear, when maybe they want to just be inspired and feel your love and passion for the project.

What made your pitch different?

In the beginning, the client was looking to shoot an actor portraying a photographer. A guy shooting in a studio or out on a simple model shoot. The goal was to tie in the similarities of a photographers desire for precision and perfection with the precision of the truck.

I just knew that for a truck brand a real story would play better to their viewers. I pitched the idea of my photographer buddy Kevin Winzeler out on an actual assignment in Moab, Utah. They loved the concept and even switched the featured truck over to the Sierra All terrain model.

“That was a hard one to cut. We worked so hard for it, but I just knew it wasn’t up to par.”

What was production like? 

Honestly one of the most fun shoots I’ve done. So crazy, but we had a great crew and a good time. We had the tightest deadline and Kevin is a busy guy between having a successful career in photography and four kids. We had a little over a week of pre-pro and then two days to shoot with him.

We had a really slim and simple production, always liking to keep it as low-key as possible. GMC trucked down the Sierra. It was DP Nate Sorensen and I on the camera, with Weston Fuller assisting, a driver and truck prep guy, then a team of two guys from Circa3 flying and operating the drone.

We shot on the RED Dragon in 6k. Lenses were a set of Leica Rs (some of my all-time favorites). We had a gimbal and just regular set up.

What challenges did this project present?

With such little time, the pressure was on for sure. Sorensen and I headed down to Moab a day early to scout. I finished out the storyboards on the drive. I had already digitally scouted everything the week before, so in the morning we took a quick look at the spots and everything checked out well.

On our last night, we did this brutal hike up to an area called Castleton rock. It’s a short hike distance wise, but seriously steep and we underestimated how long the hike would take. We were racing to catch the sun before it dipped behind the horizon.

We got one shot up there that is in the final spot, but we didn’t get the one I had planned for. It ended up being too dark and muddy of a shot. I had no choice but to cut it out in the editing room. That was a hard one to cut. We worked so hard for it, but I just knew it wasn’t up to par.

The location of that last shot in the commercial was definitely the scene I wanted most for the project and it had to be just right. And yet it was the only location I didn’t have locked down. A lot of locations that I had Google mapped weren’t working out. So toward the end of the day, we made an hour-and-a-half trip in hopes that this last spot (which I had been avoiding due to the long drive) would give us the setting we needed. The trek was worth it, the location ended up being perfect.

Featured Posts

Rolls Royce + The Mill

Rolls Royce + The Mill

Working with Daughter.Studio, Mill+ created this stylish spot for Rolls Royce and their latest Ghost model. The Mill’s VFX team utilized 4K Signature Glass Effects from Lens Distortions to create a highly stylized aesthetic.

The Mill

The Mill

The Mill’s VFX Supervisor Pete Rypstra shares a little glimpse into their project for Castrol EDGE which utilizes our Legacy 4k glass elements.

“I would warm up or cool down Light Hits and Luminary to help enhance the look even that much more.”

Tell us about the look and feel you were going for. How did Lens Distortions effects contribute to your aesthetic?

I had the whole spot pretty much put together and storyboarded before we shot, leaving a little wiggle room for any unexpected moments. I wanted 80 percent of the shots to be pre-morning light and sunset. I wanted to really show a true photographers reality. They’re up early and working till the light is out.

A big reason I choose Moab as the location for the project is because of the frequent storm systems that role through. We ended up having a lot of these gorgeous storm clouds the entire time we were out there.

I knew while we were there that Light Hits would come in to help. In the edit, I subtly used light hits and Luminary to enhance a flat shot here and there (see 0:20 and 0:34). I added luminary in a shot of the truck’s headlights just to give them a bit more flare (see 0:12).

I love to add some color to the effects. The color on this project was on the cooler side and then we would add warmth in Kevin’s skin tones and in the red landscape. I would warm up or cool down Light Hits and Luminary to help enhance the look even that much more.

To see more of Nate’s work, check out vimeo.com/nategunn.
BTS photography By Nate Gunn and Weston Fuller.

Explore the effects used in this post

Luminary

Luminary was crafted with fashion projects and luxury brands in mind and is filled with gorgeous overlays made from intricate glass elements.

Light Hits

Soft and simple. Light Hits is made from actual sunlight, and helps you quickly add a little extra pop to the corners of your shots.

Behind the Scenes // Audi R8 “Masterpiece”

Behind the Scenes // Audi R8 “Masterpiece”

Audi R8 “Masterpiece” | Behind the visuals of this impressive portfolio project

Chris Leclerc is a director and cinematographer based out of Los Angeles. Over the past decade, his work has taken him to 35 countries and 6 continents. Chris recently wrapped this impressive portfolio piece, and when we heard how some of our video effects helped shaped the project, we had to get the full story. Be sure to check out the VFX breakdown below.

What inspired you to put the time and money into a personal project like this?
I think as a director you have to constantly push yourself creatively in order to not get stuck. I happened to be visiting my folks in Wisconsin at the same time my friend Paul Theodoroff was just getting back from LA himself. He’s a really solid Director of Photography so when he called and said, “Dude, let’s shoot something,” I was all in and we started pulling together ideas. We knew the idea had to be simple, something we could shoot over a weekend with a small crew and lean resources.

I’d been itching to do a project where I could push the level when it comes to dramatic lighting and cinematic shots, just something fresh for my portfolio that would raise the bar another notch for my upcoming client work. I had just picked up your 4K Luminary and Light Hits effects packs, so they were top of mind when I set out on this project.

“… how we found our talent is indie-filmmaking at it’s best.”

How did you source your location, gear, collaborators, etc?
We were able to shoot it at friend’s place, and we borrowed the Audi R8 from a personal connection. We basically didn’t sleep for a weekend and worked our brains out. We rented the Lomo Anamorphic lenses and the RED dragon online.

The story of how we found our talent is indie-filmmaking at it’s best. We pulled together a few friends to make up the crew and one had a connection who we thought really looked the part for the talent and agreed to do the project with us. We were scheduled to start shooting at 9pm on Friday night. We were on set, all ready to shoot, and we were looking at the time. It was 9:30 and we thought, “I hope this guy doesn’t flake out on us.” Then it’s 10pm, and still no sign of our talent. So we were all freaking out.

One of our grips went on Facebook and literally contacted 20 of his friends. He finally got ahold of one guy who turned out to be an actor and a model and showed up on set by 10:30pm. He stuck with us till 4am shooting, which was awesome. We had a problem and everyone was really resourceful in helping figure it out. It was a great collaborative effort by our whole team.

I’ve been fortunate to have gotten to know some really talented industry folks over the past 10 years and I had some specific folks I wanted to collaborate with on this project. I already mentioned Paul Theodoroff, who was DoP. The project simply wouldn’t have happened without him. Good sound design is important for any spot, but in an ad for a sports car, you definitely can’t skimp. Zak DeVries really delivered there. I can’t say enough good things about Tyler Roth at Company 3 for the incredible color grade on this project.

Featured Posts

Rolls Royce + The Mill

Rolls Royce + The Mill

Working with Daughter.Studio, Mill+ created this stylish spot for Rolls Royce and their latest Ghost model. The Mill’s VFX team utilized 4K Signature Glass Effects from Lens Distortions to create a highly stylized aesthetic.

A week in Hawaii with Matt Komo

A week in Hawaii with Matt Komo

Get an adventurous perspective on one of the most beautiful states in the union and see how Matt uses our Luminary 4K glass overlays.

What’s New in Luminary for Video

What’s New in Luminary for Video

To better showcase the diversity of looks in this pack, we’ve organized it into curated categories, created some quick clips to make one of the most popular use cases (transitions) easier, and added a few previously unreleased overlays to really round out the mix.

Tell us about how you shot the car shots
One of the biggest challenges was shooting at dusk because you have such a limited window for the “blue hour”. We only had time for 1 or 2 shots per “blue hour”, so we got up early and shot at about 4:30am and then again in the evening. The toughest part was getting fog on the road since we didn’t have the budget for a massive industrial fogger. We just went to Walmart and bought a mosquito fogger and filled it with mineral oil. It worked great!
We mapped out a section of the road, had the PA’s fogging it, then we’d radio down to the driver and have them drive down. The other thing that was tough was that we couldn’t just drive down the road for an hour and keep shooting. We had to keep re-fogging one area, drive the car through, turn the car around, fog it again, and drive the car through. Take after take to get the look right.
It didn’t help that the Audi goes 0-60 in like 2.7 seconds (all the car people will probably correct me on that) and my Subaru, well, doesn’t. So we weren’t able to drive the car quite as fast as we wanted and ended up speeding up a lot of the shots in post. It turned out alright, but it’s definitely no Russian arm on a Porsche.

Collections

See how emerging artists and global brands use Lens Distortions in their projects.

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“We used a flashlight to create of some of the in-camera lens flares, but we used Light Hits to really accentuate those and add the red color.”

So how were you able to get a tight shot of the character’s face with the lights whizzing by while flying down the highway?
The interior driving shots were something that we knew we’d have to experiment with. Again… no budget, we had to be creative. We used kino tubes and had some of our grips and PA’s just swinging the lights around the actor’s head, and we shook the camera while the lights were swirling around. We also turned up the shutter on the camera to help add some of the motion feel. You’d never know that we were just sitting in a barn at 3am shaking a camera and moving lights around.
How did you guys pull off that “fire down the exhaust” shot? Did you animate it?
I wanted to portray the power of the engine. We all know the classic shot of the pistons firing and the gasoline coming to the engine. I called an animation buddy, and he said it’d be too expensive. So I went to Home Depot in search of a more practical solution and came across the pipe section.
I thought, “What if I used hairspray and a little flame, and fired it down one of these steel pipes. I could use a macro lens on my camera and put a little piece of glass at the end to protect the lens.” So that’s what we did! We shot it in slow motion, at like 240fps on the RED. We were sitting in my apartment with the RED laying on the ground shooting hairspray down a pipe and igniting it, and we kept doing it over and over till we got something cool. I think the fire alarm went off a few times.
How did knowing what you can do with Luminary and Light Hits in post affect some of your decisions on set?
After looking at a lot of other car spots in pre-production, we noticed that in many high-end budget commercials, there are these subtle little flares and flashes that make the spot more dynamic. With Lens Distortions, I knew I’d be able to add the same effects in post-production, and not have to try and shoot that all in-camera. Going into production, I already had a couple scenes in mind where I knew adding a little extra piece of light with Light Hits or texture with Luminary was going to work well.

“During production, it was reassuring to know I could fine tune the look with Lens Distortions.”

When I was storyboarding the project, I knew I wanted a scene where the car turned on and seemed like it rumbled the whole barn. And to visually show that, we had this table full of tools that our grips shook really hard, and then in post, I used Luminary to add some extra movement to the shot to help make it look a little more dramatic.
Paul brought some interesting ideas to the table when it comes to color and hues. When the character walks into the garage (which was actually a friend’s barn), you see these awesome red highlights that contrast with the cool tones. One thing we noticed as we started shooting was how important the color red is to Audi’s brand, so we kept coming up with ways to tie that color into the whole spot.
I was messing around with Light Hits and I tried tinting them red to match some of Audi’s red, and it worked wonderfully. It was really simple to do in Premiere, just adjust the color, turn down the intensity, and add it to the corner of the shot. That part was all done in the edit, not in-camera. This helped create more consistency with lighting we used on set.
When we were shooting the interiors of the car, I knew I wanted this red light to be passing over the driver. We used a flashlight to create of some of the in-camera lens flares, but we used Light Hits to really accentuate those and add the red color. During production, it was reassuring to know I could fine tune the look with Lens Distortions.

You can see more of Chris’s work on his website and you can also see more of Paul Theodoroff’s work on his website.

Explore the effects used in this post

Light Hits

Soft and simple. Light Hits is made from actual sunlight, and helps you quickly add a little extra pop to the corners of your shots.

Luminary

Luminary was crafted with fashion projects and luxury brands in mind and is filled with gorgeous overlays made from intricate glass elements.

White In Revery // Cinematic Wedding Films

White In Revery // Cinematic Wedding Films

White In Revery | Cinematic wedding films
“We consider Lens Distortions effects as that ‘cherry-on-top’ to the film.”
White In Revery is a husband and wife team based in Denver, CO that specializes in storytelling primarily, but not exclusively, as wedding filmmakers. They currently use our full lineup of 4K Video Overlays.
White in Revery shared some of their best tips for editing wedding videos with our Light Hits lens flares and Shimmer particle effects. “We love utilizing Lens Distortions effects to smoothly guide the viewer throughout our films and to articulate certain moods. Sometimes there is negative space that we subtly fill with a Light Hit to help the viewer focus on the content and emotion that is actually going on in the scene.” “We use Light Hits to add movement to a still frame, smooth out transitions between shots, and even strengthen pivotal beats in a song to make the scene a bit stronger and more effective. We consider Lens Distortions effects as that ‘cherry-on-top’ to the film.” “For receptions, Shimmer is fantastic. We sometimes have to balance a photographer’s flash into a shot and the Shimmer pack really smooths it out. By incorporating Shimmer into dancing sequences, we feel it adds just enough movement and energy to the frame without being too distracting.”  
See more of White In Revery’s work at whiteinrevery.com.

Explore the effects in this post

Luminary

Luminary was crafted with fashion projects and luxury brands in mind and is filled with gorgeous overlays made from intricate glass elements.

Light Hits

Soft and simple. Light Hits is made from actual sunlight, and helps you quickly add a little extra pop to the corners of your shots.

Shimmer

Optically-captured in stunning detail, Shimmer is made from glistening particles, glass shards, and explosive fragments of light.

Fog

Cinematic haze, smoke, and atmospheric effects

Legacy

Stunning textures, light leaks, and flares. Made from shards of glass and crystal, Legacy is packed with curated clips for your next music video, commercial, or narrative.

“Stranger Things” Opening Titles

“Stranger Things” Opening Titles

Stranger Things | Title designers look to Light Hits for optical quality
We’ve been following the work of design-based production studio Imaginary Forces for a while now and were excited to see our Legacy effects pop up in some of their projects a few years back. We were thrilled to learn recently that their team used our 4K Light Hits to give that extra something to the opening title for Netflix’s wildly successful new original series, Stranger Things. Imaginary Forces animator Eric Demeusy was kind enough to give us some background info.
“They’re the best ones out there.”
Demeusy said, “The goal was to make the titles look like they were made optically in the 80’s. We used a lot of subtle details for that and one of those details was Lens Distortions. We needed good, realistic flares that we could use very minimally to make it feel a little more natural and filmic. They needed to be real optical effects, so naturally, Lens Distortions was what we went with. They’re the best ones out there.”
“To get that kind of brief… is a designer’s dream!””
In an interview with The Art of the Title, Imaginary Forces Creative Director Michelle Dougherty describes her team’s initial conversation with the Duffer Brothers, “They referenced Richard Greenberg and all the greats that he’d created — The Goonies, Altered States, Alien, The Untouchables, The Dead Zone, just to name a few. That was great to hear because we understood where they were coming from. That was really refreshing — and pretty surprising — that these creators knew so much about title design.” “After that call, they sent over some book covers that they liked, from books that they’d either read or seen as children. Most of them were by Stephen King, so we knew they were looking for something that felt ’80s and tapped into this nostalgia by using that typography. They really loved the simplicity of those covers, but also those Richard Greenberg titles. To get that kind of brief — to let the typeface set the mood for a show — is a designer’s dream!”
To learn more about Imaginary Forces, visit their website imaginaryforces.com. Still frames courtesy of ericdemeusy.com

Explore the effects used in this post

Light Hits

Soft and simple. Light Hits is made from actual sunlight, and helps you quickly add a little extra pop to the corners of your shots.

Behind the Scenes: EXPRESS – OneEleven

Behind the Scenes: EXPRESS – OneEleven

Behind the Scenes: EXPRESS – OneEleven

When the creative department at EXPRESS creates video shorts for some of their women’s clothing lines, they’ve leaned on Lens Distortions as a key ingredient to craft a distinct look.

We caught up with Jordan Schmelzer, the in-house Video Editor at Express, who’s been working with the company in some capacity since early 2015. Before that, he was a freelancer for almost 10 years as a jack-of-all-trades type of production guy, working with clients such as Chipotle, White Castle, Victoria’s Secret, and Nationwide Insurance.

Jordan was kind enough to give us a bit of the backstory on these and share some images from production.

What’s the backstory on these projects for EXPRESS?

The goal for projects like these is to showcase notable models sporting looks for EXP Core and One Eleven, which are subsets of the Express line of clothing. One Eleven is a line of casual tops and EXP Core is fitness apparel, both designed for women.

Most videos are essentially look-books, and often have somewhat of a “behind-the-scenes” feel to them.  They live on the Express website, YouTube, and are pushed via Instagram, Facebook, etc.

EXPRESS One Eleven
EXPRESS One Eleven
EXPRESS One Eleven
EXPRESS One Eleven

What is production like on these spots?

Productions are very fast paced because they are primarily photoshoots where we simultaneously grab video assets. Like most shoots, there is a lot to get in a little time. For most One Eleven productions we’ve been using a small three man crew with two Sony FS7 cameras. For the most recent shoot with Emily Ratajkoswki, the team traveled to Puerto Rico with a  slightly bigger crew, RED dragon, Movi and drone. Everything in beautiful 4k.

 

 

EXPRESS One Eleven
EXPRESS One Eleven

 

Walk us through your post-production workflow on these.

The challenge is to make the videos feel like more than just a moving catalog. We want to bring life and emotion to these videos, and deliver a specific feel and message that resonates with our brand. When you see a photo of a girl in a shirt, it’s just that, but when you add music, action, and a color grade, it becomes much more than a girl in a shirt, it becomes a story.

“We’ve taken such a liking to Lens Distortions effects that they’re becoming an integral part of our video workflow, specifically with our One Eleven clothing line.”

 

For us, a good edit starts with music. Chris Borman (Senior Art Director) and I get together and choose what we think would be a really great music track to match the video – something that fits the brand, mood of the shoot, and most importantly, something that would make for a great edit.

Often times we are able to license songs from artists to pair with the footage, other times we create custom music tracks. Once we find something we really like it’s just a matter of choosing the best shots and cutting to the beat. Then comes color grading and Lens Distortions, which is my favorite part.

EXPRESS One Eleven
EXPRESS One Eleven
EXPRESS One Eleven
EXPRESS One Eleven
EXPRESS One Eleven

Any interesting challenges with these edits?

The original One Eleven concept was to shoot in an open NYC loft with mostly natural light. Many of the shots have large bright windows in the background. This presented a challenge for the video team because even when shooting with Slog3, it can be difficult to expose a shot for both inside and outside simultaneously. Needless to say, we were left with some over-exposed shots.

 

While this presented a challenge, the color grading process and Lens Distortions really solved the problem we were facing. The natural-looking Light Hits turned the footage from drab to dynamic and made the over-exposed shots look intentional and really dramatic.

  • Before-Hailey Baldwin
    After-Hailey Baldwin
    Before Hailey Baldwin After

  • Before-Hailey Baldwin Express
    After-Hailey Baldwin Express
    Before Hailey Baldwin Express After

  • Before-Hailey Baldwin Express
    After-Hailey Baldwin Express
    Before Hailey Baldwin Express After

What kind of look and feel were you trying to create with these spots?

Traditional Express videos are equally video look-books, but they are a little more produced-looking. With One Eleven, we wanted to have a very natural, easy feel to complement the nature of the clothing. Adding Light Hits and Legacy elements from Lens Distortions brought a layer of natural-looking beauty and depth to each shot.

We’ve taken such a liking to Lens Distortions effects that they’re becoming an integral part of our video workflow, specifically with our One Eleven clothing line.

To see more of Jordan’s work, check out jordanschmelzer.com.
He currently uses Legacy, Light Hits, Shimmer, and Luminary 4K packs from Lens Distortions.

“Adding Light Hits and Legacy elements from Lens distortions brought an element of natural-looking beauty and depth to each shot.”

Jordan Schmelzer

Editor, EXPRESS

VFX Breakdown // An Incredibly Imaginative Toyota Project

VFX Breakdown // An Incredibly Imaginative Toyota Project

VFX Breakdown // An Incredibly Imaginative Toyota Project

Glenn Stewart is Head Of Design at Rotor Studios in North Sydney, which is a full service production & post production company that specializes in live action, CG, and interactive experiences.

One of Rotor’s recent projects for Toyota came to our attention as our 4K Light Hits overlays were utilized in a few of the scenes. We caught up with Glenn Stewart, who played Director, Art Director, Compositor, Matte Painter, and some other odd job roles, to get the details on this Toyota art contest and the accompanying commercial.

Watch the full commercial below followed immediately by a VFX breakdown.

Can you give us a bit of the background on the Toyota Dream Car Art Contest?
Started in 2004, the Toyota Dream Car Art Contest is currently in its 10th year, and is really about fostering children’s imaginations from all around the globe.
From Toyota’s Website:
“Toyota Dream Car Art Contest invites children from all corners of the globe to share ideas about the future of mobility by drawing their dream cars. We at Toyota believe in nurturing the creativity of the next generation of great inventors, thinkers and dreamers. Every great idea was born in the glimmer of a dream.”

“Every great idea was born in the glimmer of a dream.”

Once the contest closes and the 30 finalists are selected, Toyota flies the finalist and their parents to Japan for an event to award them for their designs, take them on tours of the Toyota factories and many more surprises.

How did the concept and story for this come together?
Having worked on this project last year, we knew the focus would always be on imagination and creativity, but moving forward we also knew we wanted a little bit more diversity, plus one more scenario (making for four vignettes total).
In early July, the clients from Toyota Japan visited Sydney for some meetings so we could collect their initial thoughts and bat around some ideas with them to get started.
After a few weeks of pulling references and solidifying concepts, myself and Scott Bradley  (one of the directors and owners of the Rotor Studios) travelled to Japan for 3 days of meetings with the clients. This is where we really fleshed out the four storylines plus the fantastical vehicles in them.
In the weeks heading into production, those storylines became fully refined via concept art and storyboards to really set us up for the shoot.
With a heavy mix of CG elements and FX composited into live action scenes, there obviously has to be a lot of coordination in pre-production and production. Walk us through your process there.
Luckily we’d had enough experience by that point to really get our heads around a project of this size and know how to approach most things, although there were always a few situations of “how are we going to do this?”
 Ordinarily, we would have previs’d each of the scenarios to get a sense of movement and camera, however we didn’t have enough time to do that. So instead we just had to combat this by really getting our storyboards right and hoping I’d had enough conversations with our Head of Post Production so on the day we shot exactly what we needed to shoot. Working out our methodologies for each scenario and shot was paramount.
Ryan Thompson - Cinespace - Exporation
Ryan Thompson - Cinespace - Exporation
What did your post-production workflow look like on this project?
Well as soon as the shoot was finished we were straight into the offline edit and stitching it all together in Premiere. We were lucky the client was so easy going on this as they never had any comments regarding the edit decisions (but there was a last minute trim which was easily enough resolved) so we could get straight on to the visual effects.
Shots were named and distributed to our talented artists, who by that point had begun to model the vehicles based on the concept art. That was probably our biggest back and forth with the client, as they had quite specific ideas about what they wanted, and with some last minute additions, some of the designs weren’t finished being modelled and textured until right before they needed to be rendered and delivered.

On the 2D side, cleanup and roto was done by a couple of artists in After Effects and Nuke, and with the matte paintings we were lucky to collaborate with a great artist in the USA, who handled the key backgrounds, with myself filling in some of the smaller gaps.

On the 3D side of things, 3D tracking of live action plates was done in Synth Eyes, with animation and modelling being done primarily in Maya, texturing in Mari, and rendering with Arnold.

Given the quick turnaround of the project and the small team we had on this, there were a few over night stays in the office along with plenty of RedBull.

Once all the elements were finished and rendered, we composited all of the shots in After Effects, with the final grade being doing in DaVinci resolve.

Ryan Thompson - Cinespace - Exporation
Tell us a bit about how you came to use Lens Distortions and the effect you were going for. 
I’d known about Lens Distortions for a few years, and had myself bought the Legacy pack a year or so back. When the Light Hits pack was announced, I kept it in the back of my mind for when I might need to use it on a project.
By being real elements, the Light Hits overlays had such an organic quality that really lifted the final comps, something that was so much more difficult to achieve with purely CG flares.
When compositing in 32bit, light takes on a completely different quality and Light Hits really added such a subtle and naturalistic texture with it’s minute colour variations and luminance spread that we ended up with a better end result.
As filmmakers, we’re always looking for sources of inspiration. What are some of your favorites?
Vimeo is quite obviously the go to place for anything visual and motion related, however I also really rely on Designspiration and Pinterest. Pinterest in particular I seem to be using more and more as my go to place, as I tend to draw so much inspiration from photography and design, and that’s a great resource for both.
NoFilmSchool is a great filmmaking site and I’m a sucker for a good VFX breakdown so i’m often trawling sites like FXGuide for articles and behind the scenes tips that I can help apply to the next project.
To see more work from Rotor Studios check out rotorstudios.com.
You can see more of Glenn’s work on his personal website, kozu.tv.
He currently uses 4K Light Hits and 4K Legacy from Lens Distortions.
 –
All images and video courtesy of Rotor Studios ©.

Features

  • Includes 30 curated clips
  • Encoded in ProRes at a frame rate of 23.98
  • Available in either 4K or 2K
  • Each Light Hits is between 3-28 seconds in length
  • Compatible with Premiere, Final Cut X, Avid, After Effects
  • 4K Download size: 6GB
  • 2K Download size: 1.8GB