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  • © Adrian Armstrong
<p>No, this isn’t some dystopian future where the arms of criminals are locked up in groceries, household appliances and china vases. This is someone whose hands are full and can’t open the boot of their car. Riding on the idea of a “hands-free” feeling, Mike Lo Nam and Abeer Verma of Y&R Toronto enlisted the prowess of Adrian Armstrong to communicate their idea, and he did so with incredible realism. “As we realised there would be quite a bit of post-production in this project,we had to plan accordingly to bring as much realism to the images as
possible,” says Armstrong.Directing the models was an important part
of the process, and they were able to compare the props to the model’s
arms and have them either extend or withdraw their arms to
compensate for the size of each of the props.</p>
    © Adrian Armstrong

    No, this isn’t some dystopian future where the arms of criminals are locked up in groceries, household appliances and china vases. This is someone whose hands are full and can’t open the boot of their car. Riding on the idea of a “hands-free” feeling, Mike Lo Nam and Abeer Verma of Y&R Toronto enlisted the prowess of Adrian Armstrong to communicate their idea, and he did so with incredible realism. “As we realised there would be quite a bit of post-production in this project,we had to plan accordingly to bring as much realism to the images as possible,” says Armstrong.Directing the models was an important part of the process, and they were able to compare the props to the model’s arms and have them either extend or withdraw their arms to compensate for the size of each of the props.

  • <p>“Once we had the final
selects of our people images, we then shot the objects to match. This
was done using the image of the person as an overlay in Capture One.
Having that image as an overlay while we photographed the objects
allowed us to get the perfect angle, perspective and light that in the
end result would match the person seamlessly,” says Armstrong. All this planning made the shoot smooth from start to finish.</p><br><p><strong>Photographer: Adrian Armstrong www.adrianarmstrongphoto.com<br>
Campaign: Ford Liftgate<br>
Client: Ford<br>
Agency: Y&R Toronto<br>
Art Director: Mike Lo Nam<br>
Writer: Abeer Verma<br>
Creative Director: Jonathan Smith<br>
Chief Creative Officer: Israel Diaz<br>
Producer: Mario Pariselli<br>
Production/Photographer’s Agent: Fuze Reps<br>
Retoucher: Adrian Armstrong</p></strong>

    “Once we had the final selects of our people images, we then shot the objects to match. This was done using the image of the person as an overlay in Capture One. Having that image as an overlay while we photographed the objects allowed us to get the perfect angle, perspective and light that in the end result would match the person seamlessly,” says Armstrong. All this planning made the shoot smooth from start to finish.


    Photographer: Adrian Armstrong www.adrianarmstrongphoto.com
    Campaign: Ford Liftgate
    Client: Ford
    Agency: Y&R Toronto
    Art Director: Mike Lo Nam
    Writer: Abeer Verma
    Creative Director: Jonathan Smith
    Chief Creative Officer: Israel Diaz
    Producer: Mario Pariselli
    Production/Photographer’s Agent: Fuze Reps
    Retoucher: Adrian Armstrong

  • Next Gallery

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    Prime Beef - Trapped Inside a Sausage’s Body

Ford Liftgate 1 of 2

Ford Liftgate

© Adrian Armstrong

No, this isn’t some dystopian future where the arms of criminals are locked up in groceries, household appliances and china vases. This is someone whose hands are full and can’t open the boot of their car. Riding on the idea of a “hands-free” feeling, Mike Lo Nam and Abeer Verma of Y&R Toronto enlisted the prowess of Adrian Armstrong to communicate their idea, and he did so with incredible realism. “As we realised there would be quite a bit of post-production in this project,we had to plan accordingly to bring as much realism to the images as possible,” says Armstrong.Directing the models was an important part of the process, and they were able to compare the props to the model’s arms and have them either extend or withdraw their arms to compensate for the size of each of the props.

Ford Liftgate 2 of 2

Ford Liftgate

“Once we had the final selects of our people images, we then shot the objects to match. This was done using the image of the person as an overlay in Capture One. Having that image as an overlay while we photographed the objects allowed us to get the perfect angle, perspective and light that in the end result would match the person seamlessly,” says Armstrong. All this planning made the shoot smooth from start to finish.


Photographer: Adrian Armstrong www.adrianarmstrongphoto.com
Campaign: Ford Liftgate
Client: Ford
Agency: Y&R Toronto
Art Director: Mike Lo Nam
Writer: Abeer Verma
Creative Director: Jonathan Smith
Chief Creative Officer: Israel Diaz
Producer: Mario Pariselli
Production/Photographer’s Agent: Fuze Reps
Retoucher: Adrian Armstrong

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17 August 2015
  • Capture

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