A joy of working in marketing is the chance to be creative, and I’m exceptionally proud of a series of new commercials that a talented team of professionals put together. It’s incredible to watch this process unfold, moving from child-like sketches of concepts to 30 seconds of “Hollywood” at the end. I think there’s a fascination of this among the general public; the ‘making of’ features bundled with movies give testament to it. It’s as if we want to see how the magician pulls the rabbit out of the hat. I never feel diminished joy in seeing the artistry behind video production, though. Rather, I feel a sense of awe.
This year’s commercials were shot by our trusted advertising agency, GO, with a crew that we’ve used before, so there was a certain degree of comfort involved. However, the day of shooting is always a draining process, starting before dawn and going until it’s done. Stuff goes wrong, you get in each other’s personal space a lot, the varnish comes off a bit, and because of the time and money involved, you all give everything for every second of film to count. There’s mumbled swearing, hopefully not much breakage, and a lot of coordinated and uncoordinated movement.
One of the professionals we hired was the lighting director, Chris.
Some analogies with light are easy. You light your own darkness in life. Sunshine makes the best disinfectant. Those are all true, but the beauty in light to me isn’t the power, but the subtlety. You can see it in Chris’s work and all around us.
I’m a morning person. I love to get up before dawn, make some coffee and watch the sun rise. My son and I recently camped, which I always appreciate but my sleep doesn’t. I’m dirty and uncomfortable and restless all night and almost always awake long before the sunrise. On this particular morning, I watched the eastern sky gradually change from dark blue to hues of red to a truly spectacular orange, pink and red mosaic. Photographers call this the golden hour, when the sun is low, soft and filtered through a thick layer of atmosphere.
Then, in the span of just a few seconds, the show is over and the sky bright from our star 93 million miles away. The earth turns some more and the sun is risen, beating down with brilliance.
Chris’s work had that mix of brute force and subtlety. The brute force is the easy part. We shot the commercial’s last scene after sunset, in a glass-walled lobby, but we needed the room to be lit as if it were day. You throw enough wattage on something and you’ll re-create daytime. But the artistry and handiwork came in the tweaking; his constant adjustments to ensure the light was balanced, the right temperature, the right diffusion, coming from the right direction, with just the right amount of power.
He’d walk into a room that would appear to be your average space, make a few adjustments, pull out a few bulbs, add a few of his own, and the scene was transformed. Over the last few years, I’ve seen him in the pouring rain, balancing a giant light coming into the windows 15 feet off the ground to recreate full sun, or up on a table, removing a hanging light fixture altogether. In between adjustments, he’d hover over the monitor that showed the camera’s view, coordinating with the rest of the team and critically eying light in a way that seemed to be from the perspective of another dimension. It was awesome to witness, in the same way that it’s awesome to watch a craftsman make something out of wood, metal or material.
His professional world is fake and real at the same time. He manipulates the power that surrounds us, warms us, allows us to live, and reveals beauty, and he is also very much a person who gets his hands dirty, a trait I admire from my time outdoors and my own work experiences. At one point, as the crew tried to resolve a technical issue with the digital equipment, someone asked if he had any suggestions. He shrugged, said, “I don’t know. I deal in light, mud, rocks and rain,” pulled up his hood, and went back outside to check on rain-drenched gear.
In the end, the team made the magic. The camera operator, producer, director, actors, and technicians pulled off fourteen hours of work, grabbing twelve scenes at seven locations in two towns, which was all sent off to post-production, where another set of professionals worked on it for weeks. Thousands of minutes of work turns into fewer than two that the public actually sees. Chris and the team moved on to the next job. Maybe a huge rock concert, as was the case last year. Maybe an infomercial. Everyone needs light.
There were multiple lessons in that exhausting day. There’s craftsmanship all around us when we look. There’s beauty in natural light. There are countless subtle changes we can make to improve what we see in any situation. Brute power reveals—but experience adjusts the revelation of—the good and bad in everything.
And, sometimes, just like in camping, we should understand that great things can be seen through the lens of some sweat, light, mud, rocks and discomfort.