Product: Gatorade "Fair Trade"
Director: Jack Wung
DP: Daron Keet
Editor: Adam Svatek, Filmcore
Post-Production: Amburr Dilday
Colorist: Shane, Riot
Plaster City Digital Post, L.L.C. Adviser: Michael Cioni

Authenticity is key to this spot. To capture the basic human truth which we all share - Desire. How much will you give in return for your dreams? What will you pawn? Perseverance, sacrifice and drive? Will you give your all? Even after all that, there's no guarantee.

The idea here is to be honest in our delivery of that emotion. To deliver in such a way that's interesting and new. Above all we have to be authentic in every choice we make.

The Pawn Shop
This store is timeless, mythical and looks like it's been there forever. The imperfection of old. The aged wooden counters and floors, deep dark colors, classic glass countertops and brass cash register, a bell by the door and an antique-like television in the corner. Things that our character might have been collecting - a trip down memory lane.

The Store Owner
This man is as mythical in stature and as timeless as the store itself. He has depth in his eyes and voice, and wisdom in his face.

Cinematic Treatment
Jack is a very collaborative director who is open to, and in fact encourages, a free flow of ideas that enhances the strong, emotive vision evident in his work.
Jack wanted the mood to be very dramatic with dark images punctuated against light. We looked at the Italian Chiaroscuro art influence for ideas on how best to juxtaposition dark against light. We further drew visual inspiration from the Dutch painter Vermeer's exquisite, poetic use of southern light and color in his interior paintings. We recreated the window source Vermeer lighting quality and watched Girl With a Peal Earring for filmatic references in designing the look.

We shot on the Red Camera with a set of Zeiss Ultra primes. I intentially underexposed the footage by half a stop, knowing digital's limitations in retaining information in overexposed images.

We had the files transferred at Plaster City post. We instructed the post house to do a conservative flat grade with little contrast or color into our Red camera media, in order to retain as much information in the files as possible.

The media was layed down to SR, D5 and DVCAM. When we were finished with the offline, we were able to reassemble from the HDCAM SR Master in 444 space, which allowed us to do the most aggressive grade, where we pushed the dynamic range of the Red's captured media files to its limits.

Because of the confined space in which we were shooting, I used a 6-foot slider to do many camera moves. The aspect I enjoyed most about my first forays into the Red camera was its color viewing system through the eyepiece, a great improvement on many other digital format cameras.