Unveiling the Impact: A Green Screen Super Bowl Commercial Success Story
Discover the creative journey behind The Dobbs Law Firm’s groundbreaking Super Bowl commercial, crafted to captivate and inspire.
Creative Vision
Hamil Bros conceptualized a narrative that resonated with audiences, highlighting the law firm’s commitment to justice.
Production Excellence
Utilizing state-of-the-art technology, we ensured every frame of the commercial was a testament to our quality and precision.
Bringing a Bold Concept to Life
Yesterday marked a significant event in the Permian Basin, as the “BIG GAME” once again provided a prominent platform for Hamil Bros Studios’ creative endeavors. For nearly eight years, our collaboration with the Dobbs Law Firm has been a cornerstone of our work, and the recent year has brought exciting opportunities to push creative boundaries on Spencer Dobbs’ larger projects. This enduring partnership has allowed us to consistently deliver impactful campaigns that resonate with the local audience, reinforcing the Dobbs Law Firm’s presence in Midland, Odessa, and surrounding Texas towns during high-visibility events like the Super Bowl.
The Power of Storytelling
Creating a High-Impact Television Commercial for Dobbs Law Firm
The production of this television commercial was a race against time, characterized by an exceptionally condensed timeline and an unforgiving deadline. Initially, we explored two distinct conceptual approaches for Spencer, ultimately converging on the “juror ad” concept, which everyone agreed possessed the greatest potential impact.
Our primary hurdle quickly became securing a suitable courtroom location. We leveraged our network, reaching out to a friend who serves as a judge in Odessa, Texas. She extended a generous offer to allow us to film in her courtroom, contingent upon obtaining the necessary approvals from the relevant authorities.
Regrettably, with minimal prior notice, the commissioners were unable to navigate the proper channels for approval within the tight timeframe. As quickly as the courtroom opportunity arose, it vanished, leaving us without a crucial set piece.
Fortunately, luck was on our side. The incredibly accommodating Hannah Britt at KMID came to our rescue, providing access to their green screen studio, which proved to be an invaluable asset in realizing our visual effects-driven approach.
When we shoot green screen with any sort of camera motion, we have to take notes on everything. We have to get camera height, focal lengths, etc to make sure that our backgrounds and environments match the camera movements. It’s a pretty tedious process, but we are really happy with the results.
We typically prefer practical locations, but in this instance, we just had to work our given scenario to our advantage. We found a 3D courtroom model, which you see in the background of every shot in the ad, and got to work making sure that it looked like Antonio was actually in that room.
Making a Big Scene in a Small Space
With the filming location secured, our primary focus shifted to achieving unparalleled precision in every shot. For this crucial task, we once again relied on our trusted Dana Dolly, expertly paired with our eMotimo motion control system. This combination allowed us to execute incredibly smooth and repeatable camera movements, essential for maintaining consistency across multiple takes and angles. Our Blackmagic Pyxis camera, known for its exceptional image quality and dynamic range, served as the core of our cinematic setup, capturing the nuanced details of the scene.
To complement the camera’s capabilities, we utilized our premium Tokina Cinema Vista Lenses. These lenses are renowned for their optical clarity, beautiful bokeh, and minimal distortion, ensuring that every frame was visually stunning and sharp, even in challenging lighting conditions. The synergy between these high-end tools provided us with the technical foundation to bring our creative vision to life with exacting accuracy.
Lighting for this particular setup presented a unique set of challenges and demanded an unconventional approach. Unlike typical productions where we have the luxury of multiple backgrounds and more flexible lighting arrangements, here we were constrained to a single background. This limitation meant that our standard lighting practices, which usually involve establishing a complex interplay of lights to define depth and separate subjects from backgrounds, were not feasible. Consequently, we had to rethink our strategy entirely.
Our solution involved pivoting all our lighting around the central point occupied by Tony’s chair. This innovative technique allowed us to manipulate the light in such a way that, even with a static background, it created the illusion that the camera was changing angles. By carefully adjusting the intensity, direction, and diffusion of each light source relative to the chair, we could simulate shifts in perspective and enhance the dynamic feel of the scene, despite the physical constraints.
Furthermore, a significant portion of our lighting effort was dedicated to the fastidious illumination of the green screen. Achieving a perfectly balanced and evenly lit green screen is paramount for seamless post-production keying. Any inconsistencies in lighting can lead to problematic spill, jagged edges, or difficulty in isolating the subject from the background. To avoid these issues, we strategically deployed several lights, thoroughly adjusting their positions and outputs. Our goal was to ensure that every square inch of the green screen received uniform illumination, eliminating hotspots and dark patches. This precise lighting allowed for a clean and efficient keying process in post-production, enabling us to composite the desired background seamlessly and with professional-grade quality.
Creating a world
Crafting a 3D Courtroom Environment
Originally, the vision for this television commercial production strongly favored shooting in an authentic courtroom setting. This approach would have lent an undeniable sense of realism and gravitas to the visuals, seamlessly integrating the legal professionals into their natural environment. However, the logistical realities of securing an actual courtroom, coupled with the tight production timeline and unforeseen scheduling conflicts, ultimately rendered this ideal scenario unfeasible. The constraints of timing and prevailing circumstances simply would not permit the luxury of an on-location shoot in a genuine legal space.
With the primary option of a physical courtroom no longer viable, Hamil Bros Studios pivoted to an alternative strategy: the integration of a high-quality 3D courtroom model. This digital asset offered a promising path forward, allowing for the creation of a virtual environment that could be seamlessly composited into every shot. Yet, this solution presented its own significant set of challenges, primarily revolving around the critical need to make the digital courtroom convincingly believable.
While a 3D model of this caliber might pass muster within the confines of a video game, its fidelity would be put to the ultimate test when juxtaposed with live-action footage. The slightest visual discrepancy or lack of photorealism would immediately break the illusion and undermine the commercial’s intended impact.
The initial phase of this digital reconstruction proved to be a significant hurdle. After several dedicated days spent building out the courtroom within the team’s preferred 3D software, the results fell short of expectations. Despite the considerable effort invested, the rendered environment lacked the necessary realism and polish.
This setback necessitated a complete return to the drawing board, a daunting prospect given the rapidly approaching deadline—less than 36 hours to final delivery. At this critical juncture, the team recognized the urgent need for external assistance, a “miracle” that could help them overcome this formidable technical challenge.
In a desperate attempt to salvage the project, the team reached out to a collaborator for much-needed help. However, fate intervened in the most unfortunate way: the individual offering assistance was struck with an untimely hospital visit. This unforeseen circumstance left the commercial production with even less time, exacerbating an already dire situation and leaving them teetering on the brink of failure.
With all other avenues exhausted, the team was left with their last resort, an option they had initially hoped to avoid: a workflow heavily reliant on After Effects and its powerful 3D rendering plugin, Element 3D. While both After Effects and Element are highly regarded tools within the industry, and we held a genuine appreciation for their capabilities, a crucial question loomed: would they be robust enough to tackle the intricate demands of this particular task, especially under such extreme time pressure? The answer had to be a resounding yes; there was simply no other viable alternative.
Ross dedicated several intensive hours to the meticulous process of capturing the motion tracking data from the live-action footage. He diligently created pre-visualization (pre-vis) versions of each shot*. This crucial preparatory phase involved constructing a very rudimentary 3D environment, which served as an invaluable reference point for the final integration of the actual 3D assets. The pre-vis process allowed for early identification of potential issues and ensured a solid foundation for the subsequent stages of production.
Once the motion tracking and pre-vis shots were nailed down, the baton passed to Jacob, who took to the computer to embark on the complex task of building the lighting for the virtual 3D courtroom world. This was a painstaking process, requiring an acute understanding of light physics and artistic nuance to replicate the natural illumination of a real courtroom. As the hours stretched into an indeterminate count, the team collectively stopped tracking the sheer amount of time they were investing to achieve the desired effect. His dedication was paramount in transforming the raw 3D model into a visually convincing environment.
Upon Jacob’s successful completion of the simulated lighting, Ross returned to the project to apply the crucial finishing touches to each shot. This involved a judicous layering of details designed to amplify the sense of realism and fully sell the environment as an authentic video production. Ross painstakingly added exterior backgrounds, ensuring that what was visible through the virtual windows convincingly reflected an outside world. He then introduced subtle, yet impactful, elements such as minuscule dust particles delicately suspended and flying through the air, catching the light in a natural way. Furthermore, he tediously crafted beams of light that streamed in through the windows, simulating the nuanced play of natural illumination within the courtroom.
Every single addition, no matter how small, was strategically implemented to enhance the photorealism and ensure that the entire digital environment resonated as a tangible, believable space within the final television commercial.
*See the following section for the pre-vis demonstration
See the before and after
The top represents the basic concept. The bottom is the final product.
The Final Countdown
The green screen Super Bowl commercial presented a monumental challenge, pushing our team to the absolute limits of our resources and time. Despite the immense pressure, we were unwavering in our commitment to delivering a flawless product.
Ross, understanding the critical nature of the final stages, prepared for an all-nighter. His dedication was paramount as he applied the finishing touches to the television commercial. Jacob, having already contributed significantly, was granted leave to go home. There was nothing more he could do to assist, and his continued presence would only have led to unnecessary exhaustion.
The visual elements were nearing completion, with the final compositing, color grading, and audio mixing remaining. Ross returned to After Effects, a powerful tool in his arsenal, to bring the various visual components together. The goal was to seamlessly integrate Antonio into the courtroom setting, making his presence feel utterly authentic.
Utilizing Red Giant’s SuperComp, Ross achieved a remarkable sense of realism. Antonio was placed in the virtual courtroom in a way that truly immersed the viewer, creating the sensation of sitting right alongside him. Every detail, from subtle light wraps and nuanced halation to delicate diffusion, played a crucial role in crafting this believable world that existed solely on screen. As these complex shots rendered, the finish line, once a distant dream, began to appear within reach.
The next crucial step involved the artistic application of color. Using Davinci Resolve, complemented by the powerful capabilities of PixelTools and Red Giant Magic Bullet tools, Ross crafted the color grade. This crucial stage was instrumental in unifying the entirety of the visuals, lending a cohesive and professional polish to the commercial.
With the visuals solidified and the color grade perfected, only one major element remained: sound. Ross embarked on the challenging task of sourcing appropriate sound effects for the courtroom. While seemingly straightforward, the reality of finding authentic courtroom audio for a commercial of this nature proved surprisingly difficult. Most professional courtroom scenes are typically recorded on set, capturing the genuine ambiance and proceedings. The readily available courtroom sound effects were largely antiquated, reminiscent of turn-of-the-century recordings, unsuitable for the modern aesthetic of our commercial.
After an extensive and determined search, Ross finally uncovered the precise sound effects he needed. These carefully selected audio elements were then precisely placed and mixed around Tony’s voice-over parts, bringing a final layer of authenticity and immersion to the Super Bowl television commercial. The relentless effort and attention to detail were evident in every frame and every sound, a testament to the team’s unwavering dedication.
Last-Minute Letterhead
We were done; or so we thought.
Ross went to render out the final television commercial and was faced with a glaring problem: we were one whole shot short.
There it was… A big fat hole right in the middle of this green screen super bowl commercial.
What were we missing? And, how on earth did we miss this?
We had shots of the judge’s seat, the jury pit, the plaintiff and defense desks. We had covered everything.
We looked back at our shot list and determined that we had actually come up short and we needed something else to fill in the gap.
What did we do? We pulled a desk out into a workshop and printed off one of the Dobbs Law Firm letterhead pages. Again, using our dana dolly and eMotimo rig, we place our Laowa 24mm probe lens on the Pyxis to get a ridiculously close shot of the letterhead.
Once that shot was “in the can,” we quickly rushed back to the office where Ross rotoscoped out the desk and placed our courtroom background in.
The circumstances were less than ideal, but we had a desk on hand that perfectly matched the 3D desks in our courtroom.
That was the final piece of the puzzle and, within a few hours, we sent the ad off for approval.
If you’ve never been in that situation, the wait is the worst part. What if there are necessary changes, can we make them in time? What if they don’t like it? What if? What if? WHAT IF?
Shortly after sending it off, we got the all-clear from Spencer and we were good to make the broadcast versions.
Finding Success
High-Quality Video Production for Your Business
Bringing this green screen Super Bowl commercial to life required strategic planning, creative problem-solving, and expert post-production work. While we always prefer practical locations, this project showcased our ability to adapt and produce high-impact, cinematic video content even in challenging scenarios.
If your Midland or Odessa business needs top-tier video production—whether for commercials, corporate videos, or digital marketing—we’d love to discuss how we can bring your vision to life. Contact us today to learn more about how high-quality video marketing can elevate your brand!