Don Julio - Por Amor: A Love Letter to Mexico
GLOBAL CAMPAIGN
2023
Featured on Office Magazine, Vogue US, Vogue Mexico & Latin America
GLOBAL CAMPAIGN
2023
Featured on Office Magazine, Vogue US, Vogue Mexico & Latin America
Clio Music Gold 2024 awards winning entry for Music Supervision under the category Commercial or Promotional Content.
Exhibited at Art Basel Miami Beach 2023 as part of an interactive installation by artist Felipe Pantone.
Directed by JC Molina & Leanne Amann
Company: Unreasonable Studios
Agency: Anomaly
Production: The Lift
Art Director: Bari Schechter
Cinematographers: Flavia Martínez & Max Henderson
Production Designer: Fernanda Contreras
Art Director (Art Department): Marina Covarrubias
Photographer: Thalía Gochez
Stylist: Nayeli De Alba
Hair & Make-up Artist: Chela Olea
Exhibited at Art Basel Miami Beach 2023 as part of an interactive installation by artist Felipe Pantone.
Directed by JC Molina & Leanne Amann
Company: Unreasonable Studios
Agency: Anomaly
Production: The Lift
Art Director: Bari Schechter
Cinematographers: Flavia Martínez & Max Henderson
Production Designer: Fernanda Contreras
Art Director (Art Department): Marina Covarrubias
Photographer: Thalía Gochez
Stylist: Nayeli De Alba
Hair & Make-up Artist: Chela Olea
ROLES: STILL PHOTOGRAPHY UNIT - ART DIRECTOR, SET DECORATOR
During pre-production I did research and made a breakdown of the project’s needs and reported it to the Production Designer and Art Director, adding content to the project’s deck. I selected props, deco and art directed custom made elements such as graphics and props according to mood boards, color palettes and references, also contributed with prop-making to give the directors more custom craft options. At this stage I coordinated shopping requirements specific to the stills unit and liaised with vendors to schedule deliveries. In collaboration with the decorators and props masters of the video unit we organized the truck load.
I was responsible for the communication between external and internal stakeholders regarding the still photography production. This involved staying up to date of changes, filtering information, solving requirements promptly and anticipating needs. For this I met up with producers and at the end of each day I made a review of the next day’s needs, creating a document listing the needs with images to send to the still photography crew so everybody would be aware of what the next day would be about, also for them to have an accesible document to go back to.
During production I curated a selection of props and deco for show & tell and collaborated creatively with the photographers and the agency’s art director designing each set on the go since the stills photography was a more freestyle shoot. I took part in dressing sets and adjusted details, also contributed with holding or moving elements to achieve an effect for the camera, for example, delicately created shadows that were part of the composition. During some shoots I stayed on set as standby and for others I went ahead to dress the next set while overseeing the previous one where the team was shooting, also I lead the team of swings and assistants, gave direction and assigned tasks in an environment of changing priorities.
I assisted the whole team where was possible and helped out striking each day, loading the truck and making sure locations were clean at the end of the shoots, finally I did the prop house returns (Bodega Amor).
During pre-production I did research and made a breakdown of the project’s needs and reported it to the Production Designer and Art Director, adding content to the project’s deck. I selected props, deco and art directed custom made elements such as graphics and props according to mood boards, color palettes and references, also contributed with prop-making to give the directors more custom craft options. At this stage I coordinated shopping requirements specific to the stills unit and liaised with vendors to schedule deliveries. In collaboration with the decorators and props masters of the video unit we organized the truck load.
I was responsible for the communication between external and internal stakeholders regarding the still photography production. This involved staying up to date of changes, filtering information, solving requirements promptly and anticipating needs. For this I met up with producers and at the end of each day I made a review of the next day’s needs, creating a document listing the needs with images to send to the still photography crew so everybody would be aware of what the next day would be about, also for them to have an accesible document to go back to.
During production I curated a selection of props and deco for show & tell and collaborated creatively with the photographers and the agency’s art director designing each set on the go since the stills photography was a more freestyle shoot. I took part in dressing sets and adjusted details, also contributed with holding or moving elements to achieve an effect for the camera, for example, delicately created shadows that were part of the composition. During some shoots I stayed on set as standby and for others I went ahead to dress the next set while overseeing the previous one where the team was shooting, also I lead the team of swings and assistants, gave direction and assigned tasks in an environment of changing priorities.
I assisted the whole team where was possible and helped out striking each day, loading the truck and making sure locations were clean at the end of the shoots, finally I did the prop house returns (Bodega Amor).
