Behind The Scenes: Commercial for Subaru

December 14, 2022 // Commissioned Work

HELGEROA: My good friends at Impact Studio and I are heading somewhere by the coast of one thousand hills. The RV curves through a narrow pathway surrounded by dried-out stone remains. We pass the occasional motorbike— mostly people are on foot and even they are few. A deep red clay is caked into every tire. Our camera is mounted on a trailer hitch and wrapped with plastic bags, protected from the hazy dirt-cloud that marks the path behind us.

Arriving with a Recreational Vehicle to a car commercial for Subaru did not only bring our film crew and actors a smooth transit, but also further amenities on set. As we are tucked inside Arc`teryx winter jackets and shooting outside, we found great comfort in our available shelter with the benefit of housing utilities. This way we got the opportunity to create an alternative commercial for the new Subaru`s prototype; Solterra. Showcased on their website and in this very post.

An initial glance shows a vast expanse of farmland stretching horizons across distant mountain tops, yet a closer look and you`ll see the character behind the faces of each family member as they drive towards a mutual goal— Seeking adventure in their intermission.

This is what we set out to capture.

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Our careful progress allows me to get a slow-motion glimpse at the passing locals. We stop along the road. There is a woman walking her dog on the macadam. Her dog is a visual representation of all the world`s family dogs. It`s almost too perfect. We explain to her what we are doing and ask politely if we can borrow her dog for the commercial. She agreed and offered to help with maintaining the dog's movements and head directions. 20 minutes later we had our shoots and drove further to our next pre-planned location.

We have the coordinates of the inlet we are meant to be, as well as a detailed description of how to get there. But no amount of location scouting could`ve foreseen the future. The main entrance was closed, an obstacle caused due to road construction. As the sun lowered, the stress raised dramatically. We rapidly start to navigate towards the other hidden entrance, wishing this other option actually existed in this bedeviled tangle. A calm exterior required constant concentration.

With spirit, a trail was closer than we thought. We undoubtedly missed it on several occasions. Intense golden-hour light sets in behind the trees and reveals a clearing. As we get closer, I notice all the tallest trees are marked with orange paint.

You will find orange-marked trees all around provincial Europe and their purpose has confused me for years. I refuse to believe that this paint is supposed to show a pathway— It's a ridiculous idea— there is no start nor end. Aside from these orientation digits, I can`t see what other use this orange paint has. I`m sure it holds some other meaning than just profound boredom of some teen with a spray box, devoting a lifetime to graffitiing random trees in an entire continent. Apart from being ineffective, it would take an incredibly organized cult of juveniles to pull this off. Of the various mysteries of the Occident, this should be the easiest to unravel, but the subject matter appears to be veiled in a conspiracy of silence.

Kimo got out of the car to search on foot and disappeared over the ridge, then reappeared a few seconds later, beckoning enthusiastically.

"I found it!" he called, "Hurry up!".

He hopped in the front seat of the RV and pointed in the direction of the trees marked with orange paint. We drove off-road, through the surrounding forest, across the seashore, then parked by the reef. At this time, we could move about easily from location to location. It’s one maneuver after the other that carries us through.

We found the most spectacular viewpoint of this far-stretched estuary. The Subaru reaches its place between the mountain and the basin. Alacrity developed quickly. The actors start acting and the cameras start recording. Everything seems to lead us to where we are supposed to be.

I`ve built my career upon elevating my subjects in their environment. There are many stylistic ways to do this and every portrait photographer has their own approach. In the beginning, I used strong key lights to emphasize this elevation. Over time, I`ve been developing a more natural approach. In this series, we focused on the strength of subtle manipulation to emphasize the subject. instead of using an overpowering key light, we relied on the beauty of what was already there. From reflective sunlight made warm by golden stocks of wheat to the diffused light by darkened skies. We used basin surfaces for filling in the shadows and keyed through anything that made sense. Practical lights were enhanced, instead of replaced. We worked with the available light, instead of against it.

We were ready on set before dawn, driving remotely into the countryside resembling a savannah in the afternoon, and then ending up at the estuary before dusk. We worked through stifling cold, only to fabricate a blistering heat in post-production— as we had to create the summer season commercial for Subaru, months ahead of its release.

There are many variables that go into the success of a photograph, and even more when you go into a series or campaign. This project was one of those shoots that had all the variables line up to something really great. All of these elements created a situation simply ripe for shooting. It`s impossible to do this alone.

It`s the strength and resources of a team that allows this level of production in a shorter amount of time. Harnessing all this power in the right direction is how this caliber of shoots can really thrive.

...It`s personal work on speed.