Working closely with Creative Director Adam Cohen, Spike developed a concept that pits the ordinary against the extraordinary. In his words, “Stance has created a fresh canvas for expression, bringing color and life to a space where before, there was none. In other words, they made what was once boring, interesting.” He developed the idea further with an internal team of genius monkeys and talking babies, eventually arming himself with over a hundred unique, fun ideas. By the time production began, Spike had chosen 10 scenarios from his list to bring to life in a 30 second spot.
The ad was shot over a matter of two days in both Myriad’s production room and Spike’s garage. Everything was shot on the Sony FS700 with an Odyssey 7Q. Spike fleshed out his skwad with Max Zampieri as DP, Brian Korff as gaffer, and Shane Smith as both on-camera talent and general prop and creative assistance.
Max is an in-house editor and creative powerhouse at Myriad Media, Brian is Spike’s college buddy and a freelance filmmaker in LA, and Shane is a local designer and one heck of a funny actor. Producing duties were handled by Marisa Shields, then in-house producer at Myriad, with additional support from project coordinator Christa Borman and intern Melissa Douglas.
Both production days ran smoothly, in accordance with The Prophecy. Spike and crew took over the production room and set about crafting something magnificent. The props were either built from scratch or purchased, and shot on a white sweep they adopted a beautiful sense of uniformity and purpose. Everything had meaning now, even the pink condoms wrapped around cucumbers.
I wasn’t in the office that day, and trust me I was incredibly bummed when I found out. I know you might not care much about where I was, but I’m telling you anyway because it’s interesting, and isn’t that why we’re here in the first place?
Fun fact, production had to move from the Myriad production office to Spike’s garage at some point because Spike wanted to set fire to some things, and that isn’t quite allowed in an office full of flammable humans.
Max said it was roughly 110º outside, and I can only imagine what it was like in a closed garage with high powered cinema lights and actual fire. Woof. Thank the maker we ended up actually using the shots they got there. Which is a nice transition right into…
I was given 1.6 terabytes of 4K RAW 60fps footage to edit. My name is Brent, by the way, I’m a copywriter and editor at Myriad Media. I was going to write this in the 3rd person, but that felt weird the longer I wrote in that voice. Rules are meant to be broken, right?
Once everything was loaded into Premiere (which took for-ev-er), I decided to play around with the footage to create little 15 second versions using each filmed scenario. That’s when everything clicked.
Why turn around a 30 second cut with voiceover and sound design (aka what Spike wanted), when I could instead do something totally different (aka because I’m difficult to work with). Turns out, what I did when I was goofing off ended up working. So from there, the team agreed to pursue a whole batch of 15 second pieces in addition to a 30 second cut.
We whittled and debated, changed courses and music over and over until finally we had a set of videos we were proud of. Honestly, post-production ran quite smoothly, all things considered. With everyone at Myriad satisfied, we’re now using these ads to pitch to awesome companies like Bojangles and definitely not other fast food restaurants.