Happily Ever After: A bridal revenge story by Ethan Pines
For my latest test — created to generate more key-art work for film and TV — I wanted to pull off a shoot with dark humor and a badass female lead. I started imagining a short film, then asked myself, how would I promote this film?
I planned five setups, each of which could stand on its own as key art and be part of a cohesive campaign. The fifth setup would be a still life shot in my small home studio in Topanga Canyon. (As a people shooter, I have to say, I love shooting still lifes when they come along.)
Going into the shoot, we worked from a detailed plan that would get us four setups with talent in the short window of good light ranging from late afternoon through sunset and dusk. Each shot combined strobes with natural light.
For this first shot, that lens flare is real. I scouted to have the sun directly behind and above the talent at the shoot. The dead wood adds a sinister vibe:
This second setup is how the series began in my head: a first-person-shooter image from the female’s POV. That’s a replica of a WWII rifle from ISS Weapons in L.A.:
The third shot is my favorite. It has all the story elements and really feels like a one sheet. Plus, she just nailed it. That cool indifference and subtle contentment is what I was going for. I try to plan every detail beforehand so there’s room at the shoot for trying a range of moments and working with the talent.
Everything comes full circle in this fourth image. Now she’s smoking the cigar. She has the truck. She has the last laugh. And she breaks the fourth wall to look right at us.
Finally, the still life. Way more lighting, flags and nets here than you might think. Loved the exacting work of bringing this to life. Again, a bit of dark humor to undercut the saccharine tones of the wedding industry.
