Earning the work demands work; taking risks, investing one’s own resources, pushing the limits of the possible to show brands and prospective partners what they’re missing out on. The advertising industry is at times beholden to trends, conventions. staid aesthetic sensibilities. With so much money and reputation on the line, there doesn’t always seem to be much room for daring.

What makes advertising work has traditionally been the ability to communicate that the solution to a customer’s need just so happens to be your client’s brand and if you can grab the consumer’s attention, pointing out a need she doesn’t even realise she has, then you’re in that sweet-spot of relevance.

Fast-forward to internet 2.0, where YouTube dwarfs CBS. Digital media is tearing down the geographical and physical barriers that once protected legacy media. In this semiotic wild-west, brands–large and small–compete for the same finite human attention; it’s a communications arms race and the typical human being is exposed to an average of 250 images per day. That's over 91,000 images a year. 

It gets more daunting: social media, an ecosystem of content, likes and follows. Here is where the masses go to see and be seen; what they want to see is themselves in the brands they choose to shop.

Affiliation, not just the prize but the calculus of a generation seeking to consume consciously–they want to know that the products and services they consume contribute to a life of purpose and they want to feel every moment to feel epic.

Jacob Hinmon and I sat down over coffee one slow 2016 Summer to field that very idea: giving the mundane personal aspects of our lives grander dimension, but how? I recalled a conversation I had with my friend director Nick Wells about Cinemascope, that glorious 2:35:1 aspect ratio was far more than a digital matte tacked-on in post and phonies were easy to spot. Anamorphic lenses read space differently than the flat aspherical 1:85:1 standard glass we were used to shooting in 4k cinematography, but the trade off was weight and balance. We knew our next spec needed to feel fluid, active, full of motion to a degree most anamorphic glass was simply too cumbersome for. I happened to have just shot on a set of PL Mount KOWA Anamorphics for Adobe right here in Portland, and after a quick phone call to my friends over at Koerner Camera Systems, we soon had a set for testing.

What resulted was a series of three commercial vignettes, shot on spec, for Nike. Work that is still talked about fondly to this day.