When I first saw the board for this project I was instantly drawn to it. I could really picture the positioning of the light bulbs and the tone right off the bat. I had a great time working with team at Saatchi & Saatchi Toronto and having them down in NYC for the finishing.

My approach was to shoot the car as much in camera as possible and various optical elements then meld them with seamless CG elements in post.

It's a hybrid in a way, however there are two shot that are completely CG; the shot of the rim and the interior shot of the seats. Charles and his team in LA did a great job especially on those shots. All the light bulbs are cg with a little Flame augmentation adding some of the optical filament elements we captured in camera and the glows of course.

The compositing was completed in Flame 2012. It was nice to utilize some of the new tools that are built right into Flame now like the '3d lens flares' and the new 'depth of field' node which was rendered on the cg after the fact using depth passes from Charles and team.

The last shot of the spot took a tremendous amount of work to fix the overcast day we were stuck with on the day two of the shoot. We comped in the sky which was from an element I shot last summer out the window of Artjail's office in Chinatown NYC.

The spot was graded in Flame and Epic's HDR-X mode came pretty handy. I was able to bring back a lot of the info in the headlights and lightbulb reflections. HDR-X works by recording a separate shutter speed simultaneously. Luckily we didn't have a ton of fast camera movement on this one so the difference in the shutter speed was not really an issue.