Daytona 500 | Date: 2019 | Category: Commercial | Client: Fox Sports | Agency: BIG
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Fox Sports tasked us with creating a Super Bowl spot for the Daytona 500. This was such a great opportunity, but the catch was that we had less than 6 weeks to do it. Pure excitement fueled about 20+ different big concepts before nailing down this Tintype inspired theme. The photography method has been practiced in the U.S. since 1856, so it's history fits nicely with "The Great American Race". During the chemical process of developing, the tintypes often look like the image was burned into the metal, this sparked the inclusion of stylistic "fire" into the overall concept. It became a metaphor for the passion of the drivers, the risk of the sport and heightened representation of the tintype process.
This version is the Director's Cut.
Due to limited time and access to all the driver's we shot tintypes of large photos. You lose some of the magic, but you still retain all the imperfections and textures that come with the development process. We developed multiples of the same photo and each one turned out vastly unique.
The images often looked like they were burned into the metal during the chemical process, each having a fiery aura.
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Agency: Big Communications, Client: Fox Sports, VO: Stephen Dorff, Director / Editor: Brian Curtin, Chief Creative Officer: Ford Wiles
Producer: Dan Atchison, DP: Caleb Zorn, Agency Producer: Amanda Paul, Account Exec: Niki Lim, Principal Talent: Kregg Janke, Cary Norton
1st AC: Neil Dearman, 2nd AC / DIT: Josiah Weiss, Gaffer: Andy Banin, Best Boy Electric: Stewart Holmes, Key Grip: Patrick Durkin
Best Boy Grip: Josh Malloy, Swing: Alan Resneck, Production Designer: Darian Corley, Art Assistant: Nicole Robbins, Stylist: Lauren Draffin
SFX Coordinator: Randy Bast
Best Boy Grip: Josh Malloy, Swing: Alan Resneck, Production Designer: Darian Corley, Art Assistant: Nicole Robbins, Stylist: Lauren Draffin
SFX Coordinator: Randy Bast
