英文

 

1. As the Director of Photography for this Coca-Cola holiday campaign, what was your core visual goal? How did you use composition, lighting, and color to create a distinctive festive atmosphere while maintaining the brand's iconic identity?

 

I’m typically serving as both Director and Cinematographer, so stepping in purely as Director of Photography felt incredibly freeing. It allowed me to focus deeply on composition, lighting, and camera movement in a way where I truly felt I was giving my best work. I approached the project by doing the things I often wish DPs could do for me as a director, and I think that support was felt and appreciated.

 

 

Before production, I spent a lot of time in pre-production with the directors, Jade Martin and Blake Vaz. We had in-depth conversations about the tone, approach, and visual language for each spot, and they shared references that helped guide the look. I also made a very intentional choice not to watch prior Coca-Cola holiday commercials. I wanted to create a visual style that felt specific and unique to this project, without subconsciously trying to meet expectations beyond what the agency and client were asking for.

 

 

2. You mentioned being "very elated with how all the final compositions, lighting & color came together." Are there any specific shots or moments in the final visual style that you are personally most proud of? Could you share the story behind achieving it?

 

As simple as it sounds, the hero shots really came together in a way where, even on set, I found myself thinking, “Wow, this truly feels like a Coca-Cola Christmas commercial.” That was a rewarding moment.

 

 

There’s also one specific shot in the Seasoned spots starring Moji Charles that I really campaigned for. It was a unique reverse aerial, low-angle shot designed to feel as if the camera was seeing through the POV of a gas stove. Jade trusted me to lean into the idea and gave me the creative freedom to explore it. We had a lot of fun executing it; using fire FX lighting, shooting through plexiglass, and rigging a grill setup on C-stands to sell the illusion of heat beneath the pot. Huge credit to my crew for pulling that together so seamlessly.

 

 

B. On Technical Approach & “Secret Sauce”

 

3. The project was captured in 6K Open Gate Full Frame using DZOFILM Vespid 2 lenses. What led you to choose this combination, and what unique advantages did it bring to the visual style of the project?

 

I knew from the start that the project would be delivered in 9:16 and function as a social-first campaign, but I wanted to give post-production flexibility to reframe horizontally if needed. In branded work, it’s common for a piece to perform well and then be repurposed for other formats like live TV or YouTube ads, so future-proofing the footage was important to me.

 

 

We shot with frame guides throughout the entire production, and my 1st AC, Kerwin Escobar, set things up so I could toggle those guides on and off on my monitor without affecting what the client was seeing. That gave me just enough room to creatively play on either side of frame while still protecting the intended delivery.

 

 

4. You intriguingly referred to "some secret sauce" in your post. Without giving away trade secrets, could you hint at one or two special techniques or creative approaches—whether in shooting or post—that were crucial to the final look?

 

One key factor was how I stacked my filtration, which really helped achieve smoother skin tones and an overall polished feel. Another approach I’ve been leaning into more recently is exposing for the background first and then building my lighting around that, rather than starting with the subject.

 

 

With the Blackmagic 6K’s dynamic range, this method really allows you to extract the most information out of the sensor. It’s already an incredible image pipeline, and that intentional exposure strategy helps elevate it even further.

 

 

C. On Teamwork & Professional Experience

 

5. You gave special thanks to the team and key talent @moji.charles. In a high-pressure commercial production like this, how did collaboration ensure the creative vision was executed perfectly? Was there a key moment where teamwork directly solved a major challenge?

 

Both Moji Charles and Joni Vasquez were phenomenal to work with. They were incredibly collaborative, open, and willing to try creative approaches that might have been unfamiliar; especially for an elevated commercial production. Their openness and professionalism genuinely made everyone’s job easier and helped the creative vision translate effortlessly on set.

 

 

6. This was a long-awaited collaboration with @thejmlife ("glad we finally got to cook up"). For young cinematographers or directors looking to enter high-end commercial advertising, what is the most important lesson you took away from this "fire experience"?

 

Relationships are everything. Jade is a well-respected producer in Los Angeles, and we had tried to align on projects for years. Even when timing didn’t work out, we stayed connected through email and social media, and she always knew I was capable of executing at this level.

 

 

She graciously brought me in and recommended my team (IYO Collective) to serve as a pass-through co-pro, which allowed me to bring in my trusted production teams across camera, G&E, and post. I was also very intentional about working with colorist Dan Diaz, who was instrumental in completing the final look. Together, we’ve developed a strong understanding of how to get the most out of the 6K full-frame image pipeline as its become one of my favorite cameras to film on due to its compact nature, and I knew both creatively and technically he’d be the best collaborator for this project.

 

 

Original Commercial: https://www.instagram.com/p/DSBDP0EElaV/

BTS Photos by: 𝐑𝐚𝐲 𝐊𝐮𝐠𝐥𝐚𝐫