Indy Car | Track Menace
Director Lukas Dong crafted an exhilarating spot to promote the 2023 IndyCar Season. This TVC shines the light on talented drivers set to race in the IndyCar series. This project kickstarts a series of videos highlighting every Indycar race this year.
The multicolored and flashing hues allows for the viewer to feel the rush and adrenaline of a drive in one of the fastest cars on the planet.
The execution of the lighting sequences and the intricate nature of the highly competitive sport are on full display throughout the commerical. The set was designed to emulate a moody garage, with a dark backdrop to provide contrast for the drivers allowing them to pop on screen.
The location and well-executed editing came together beautifully to display the fully immersive experience of an IndyCar race.
A lot of our production efforts took place beforehand. We shot at one location, which allowed for the set design & lighting to be the main stars of the show. The careful attention to prelighting was essential to Lukas in order to successfully present his vision.
We wanted the set to feel minimalist to successfully highlight the drivers, but with enough to give the sense you are in a garage. We brought on an A- Team for production design. The talented squad constructed amazingly realistic pre-viz designs that duplicated reality. These 4-D designs were essential in creating dimension within the space. We were in awe of her attention to detail and creativity, which allowed for the execution of the set.
TONE & FEEL
Lighting was essential for creating a vibe that illustrated the competitiveness and perfectionism that is race car driving. We needed the lighting to hint at the same sense of urgency on track.
We brought on Tristan Moffat as lead Grip & Gaff to build out our set. We had a pre-light day which really allowed us to dial things in. Believe it or not, the set is actually in a Marriott Conference Room, so there was quite a bit of work to be done to dial it in the way we planned.
Dark and moody themes were important, but we wanted to be sure we could control the lighting so that the drivers could pop on screen at the drop of a hat. We used a DMX board to control the multitude of lights on the set — flashing white and red.