Walmart - Mr. Rollback

Walmart launched this campaign with the idea that they will use their own associates to be in the commercial. Durrell was cast out of a Richmond Walmart and Mr. Rollback was born. Joe Alexander Directed it Charlie Gruet shot it and my company produced it.

Walmart - Fresh Berries

We shot the blackberries and raspberries in the store with a couple lights. Jesse Cook shot it, Joe Alexander Directed and my company produced it. There were a total of about 40 spots my company produced for this campaign.

Walmart - Counting

Walmart cast their own associate for this spot also. Joe Alexander Directed it, Charlie Gruet shot it and my company produced it.

Sanibel Rec Center - Swimmer

I Wrote, Directed and DP’d this spot for the local Recreational center in my spare time. I used the RED camera and the Canon Mark II 5D. All the slow mo footage was shot with the RED and the other shots including the underwater footage was shot with the Canon. I think the two cameras worked well and with a little color correction was able to match them. It’s the first time I have ever mixed the two cameras. Rusty Farst supplied all the necessary underwater gear to help me get the underwater shots. And David Layne did all the editing and post production work and helped shoot it.

Harley Davidson - Music To Your Ears

This was my first time I ever Directed and DP’d a commercial. I worked with Bill Taylor at Parr Media, which is the Advertising Agency based out of Ft. Myers, Florida. Bill Wrote and Produced it. He came to me with an idea of having a man playing guitar and Harley sounds come out of the guitar. And developed it from there. We shot it on the RED using Nikon lenses during the day in an abandoned warehouse in downtown Ft. Myers. I lit the entire set with Tungsten lights. David Cintron did the editing and Sky Audio did the final mix.

Phoenix Law - Understand Your Options

I shot this for a Friend of mine, Chuck Phoenix. I Co-wrote it, Directed and DP’d the spot. I use the RED camera with Zeiss High Speed Primes. I think it looks a lot better than the Nikon lenses. Lit the set with a combination of HMI’s, Kino’s and Tungsten. The key to this spot was the location. I needed a large room with windows in the background. We actually found this in the same building as the Law firm.
All the lawyers in the spot are real lawyers and have never acted before. We could not use real actors due to legalities. In the end the spot ended up working, but I feel the spot could have been a lot stronger with better talent. David Layne did all the editing and post production work. He also helped shoot it.

Sanibel Rec Center - Basketball

I Directed and DP’s this spot for the local Recreation Center. Again I used the RED and The Canon Mark II 5D. Slo mo footage is all RED and the remainder of the footage is Canon. I only had about 2 1/2 hours to shoot the entire sequence so I lost value in the overall look and feel of the spot. David Layne designed and built a special rig for the Canon Mark II 5D. It is a body harness that allows you to mount the camera onto a person. The cool thing about this rig is that it moves on the same access as the person and puts you right in the battle zone. It produces a fast phonetic style which suited this spot. David Layne edited and provided all the post production work including the final mix. He also helped shoot it.

MASN - On Deck

I had the pleasure of working with Creative Director, Joe Alexander, from The Martin Agency. He wrote and directed this spot. TradeMarky Films was the production company and I produced it. We shot it in Ft. Lauderdale, Florida during Spring Training. We shot the talent on location and composited in the fans in the background. MASN stands for Mid Atlantic Sports Network.

Showtime - The Underground

This was the second job I did with Showtime for the show, The Underground. Jason Bowers, EP at Showtime, Directed it. TradeMarky Films was the production company and I produced it. Shot it in Los Angeles at one location. Charlie Gruet was the DP and Jesse Cook edited it. We had Damon Wayons for only  two hours. In one of the shots we used a stand in for Damon Wayons. Can you guess the shot?

Ping - Ticket

This is one of the first jobs I produced with Director Matt Ogens. The Martin Agency’s, Joe Alexander was the creative director. Kerry Ayers was the Agency Producer and I was the line producer. We shot this on location somewhere between the Hoover Dam and Las Vegas. We hired a retired police officer with a real police bike.

Hospice - It Must Be Love

National Hospice PSA, “It Must Be Love.” Wrote, directed and produced this piece for National Hospice and Palliative Care organization. Combined Live action and animation to create a new image on Hospice. It has aired in 23 states and over 5000 times. I set out to create a piece that changed the image of Hospice. Hospice has always been known as a place where people go to before they die. That is true, however, what I did not know is that the true essence of Hospice is about living. Learning to live and enjoy and come to terms with the rest of your life. Having experienced Hospice for the first time with my son, I can honestly say it saved my life. It took me from a place of confusion and depression to a place of love and enlightenment. It brought a smile to my face. I needed to show the world what Hospice taught me. So I created a piece that is fun, uplifting, fantasy and happy. I secured the rights to the song, “It Must Be Love” by Madness. The lyrics of the song were so perfect. They fit my message perfectly. I spent a couple months on this project and filmed it with the help of the animator, Brian Colon. Him and I worked on it in our spare time. It has been received very well throughout the hospice community. Enlightening and bringing a better understanding to those out there going through transition. Enjoy the piece an if you know anyone who would benefit by watching this, please show it to them.

Panther Racing - Vitor Speaks

I Wrote , Directed and Produced this piece for Panther Racing. Vitor Meira is a Indy Race Car driver. He reaches speeds over 220 mph. The hardest part of this job was shooting it in about 2 hours. We had Vitor actually make the car noises in the mic an tweeked it later in the final mix. We shot it on location at Lincoln Tech School in Indianapolis, Indiana. Vitor was a little hesitant about what he was doing in the beginning but he was a trooper in the end.  Charlie Gruet was the DP and Wiki Wiki was the editor.

Toyota - Freeway

We were the first production to ever close down the 10 freeway and 110 freeway. Were not sure we could actually do it until it happened. The 1st AD said close it down. Our location manager, David Doumeng, an 56 police officers began the process. About 10 minutes later, as we stood on top of a 15 story parking structure,  the intersection of the the 10 and 110 freeways was quite, still and surreal. We were in disbelief. The Advertising Agency, Saatchi & Saatchi, actually had budgeted money to comp out the cars in post. But they did not have to. We shot this entire spot live action and on location. Joe Public was the director and Newton Thomas Sigel was the DP.

Ronto Group - Habits

I Co-Wrote, Directed and Produced this spot using Sony Cine Alta and Arri Film Cams. We shot in on location in Southwest Florida. For the flag scene we used a high powered airboat to get the flags moving and than reversed it in post to get that effect. The last scene, where the rain sprinkles on a pond, was a miniature set. Charlie Gruet was the DP and David Layne was the Editor.  This spot went on to win a Gold Addy and several Telly Awards.

Ronto Group - Country Club Hell

Another spot I Co-Wrote, Directed and Produced for The Ronto Group. We cast this locally in Southwest Florida and shot it at two different Golf and Country Clubs. The hardest part was getting the security guard to tackle our lead actor correctly. I think we did over 20 takes and neither actor complained once. This spot went on to win a Gold Addy,  several Telly Awards and two Pinnacle Awards.

Nextel - Dale Earnhardt Jr

We had a fun time tearing up the Orange Bowl in Miami Florida. Actually, the field was not too damaged. Our stunt drive and coordinator, Brent Fletcher, was on the ball. He sprayed the tires with a special spray, which help the tires spin and create the smoke effect. And also reduce the damage to the field. We hired 500 extras and had a b-team shoot them in groups in every section of the stadium and than composited them in post. We hired retired pro football players and coaches. This went on to play during the Super Bowl and was in the top 10.

Denmark - Colors

I Directed and Produced this spot and TradeMark Films was the production company. Jesse Cook shot and edited it. Earl Quenzel with Quenzel and Associates was Creative Director and Copywriter. We locked off the camera and shot each piece individually and than pieced it together with the music in post. This has been airing for over two years.

Ping - NYC

This was one of the toughest jobs I produced. Matt Ogens Directed it and Joe Alexander with The Martin Agency was the Creative Director.  Charlie Gruet was our DP. We shot this entire spot in one day in New York City. Not an easy task if you have ever shot in NYC. We only had 25 extras for the last shot. So we locked off the camera and repositioned them so it looks like there is hundreds of extras.

Stock - Serentity Cove

I Directed and Produced this spot. TradeMark Films was the Production Company. Christine Lemmon wrote it and David Layne, with Layne Enterprises, edited and did all the motion effects. We shot this with a very talented stills photographer, Rich Wysockey. You can view more of his work at www. wysockeyphoto.com. We shot several stills for each scene. We layered them so we could move the images in post to give it more of a 3D look. The very last shot was a miniature set. The boats actual size is about 20 inches long.