We open on a man driving his car, lackadaisically making his daily trek to work as he listens to the radio. As he comes to a stop sign, he makes his sideways glances quickly before advancing, only to incur sudden impact on his front end by an invisible force.
A voiceover relates, “Motorcycles are not invisible,” as the car is smashed to the right, forming dents and cracking the dashboard and windshield. As the driver gets out of the vehicle, the voiceover continues, “But they can seem that way to drivers who aren’t paying close attention.”
The man surveys the damage to his car before taking a wider gaze at the accident, realizing that he has actually come into contact with a motorcycle. The felled cycle now lies on its side with the rider tossed off screen. The voiceover concludes, “Look twice for motorcycles. Seeing them is saving them.” The spot concludes with the super, “Share the Road. Look Twice for Motorcycles,” along with the super, “Save a Life. Texas Department of Transportation.”
Kevin Althans of digital studio Radium/Reel FX , Santa Monica and Dallas, directed the :30 PSA for Sherry Matthews Advocacy Marketing in Austin, Tex.
While the spot could have taken a significantly CGI route, Althans decided to execute the sheet metal carnage almost entirely in-camera so the reactions and feelings were genuine. He worked with local car expert Jeff Milburn on this practical concept. Althans noted, “I came up with an ambitious idea for a rig that internally collapsed sections of the car using steel cables and a tow vehicle.” Althans used a Phantom Flex and RED MX to shoot the hero stunt cars on location, resulting in an in-camera visual that is almost entirely practical.
For editorial and postproduction, Radium/Reel FX editor Quan Tran worked closely with Althans to hone the message of the spot. Althans remained creative lead through post, entrusting the visual effects to VFX supervisor Dan Dixon. The clean-up and rig-removal was done in Inferno and Dixon’s team re-created the breaking glass windshield in CGI.
Blaise Cepis Signs With Institute For Commercial and Artist Representation
Production company Institute has added director and photographer Blaise Cepis to its roster. Cepis marks Institute’s fourth dual signing to both its commercial directing and photography rosters, alongside Lauren Greenfield, Ray Neutron, and Thandiwe Muriu, cementing Institute’s multi-platform production expertise in delivering creative collaboration for clients.
Cepis is known for creating bright, absurd, subtly opulent, and surreal visuals in his work, which celebrates the exaggerated human condition and the unique traits that make people unforgettable. A graduate of the Parsons School of Design, he built his career as an art director at ad agencies including JWT, Mother, Sid Lee, and Orchard Creative, working on campaigns for brands such as Cadillac, Red Bull, PepsiCo, Absolut, and Smirnoff. He then spent nearly a decade making a name for himself as a freelance director and photographer, blending his advertising experience and background in fine art and design to create wholly original work. As a director/photographer, he has worked with brand clients including Calvin Klein, Adidas, Puma, Velveeta, Bombas, Chevrolet, Remy Martin, Impossible Foods, The New Yorker, NBC, and Vice. Prior to joining Institute, Cepis had been repped by artist management firm agency/production company DMB.
“Institute’s roster is brimming with exceptional, heavy-hitting talent, and I’m honored to join the ranks,” said Cepis. “As a director, being able to rally the team around an idea while earning the trust of our collaborators is my ultimate goal. Having the support of such an amazing team, with all of their experience and presence, feels great. I’m excited to get started.”
“Blaise is deeply, naturally talented,” said Tori Palmatier, managing... Read More