IN FOCUS:: RC + DORIS
Precision, Excellence, Motion: From concept to execution. For the past 5 years, RC Rivera has been perfecting and tweaking his personal robot DORIS to create incredible campaigns that push boundaries for cosmetic brands, fashion stories, and product shoots.
Meet RC RIVERA
ATTRIBUTES:: Passionate, Innovative, Fluid
- RC Rivera (Renato Carlos) is a photographer, director & robot wrangler, based in San Francisco, CA & Manila, Philippines
- He shoots people, places, and things in beauty/cosmetics, sports lifestyle, and tech world
- RC is 1 of 7 kids.
- Army Brat.
- When he’s not behind the camera, he can be found tinkering on a motorcycle, trying to whip up something from Momofuku cookbook, checking out last-minute travel deals on Kayak, and or annoying his wife and two sons.
Select Clients: ALDO, Allis, AMAZFIT, American Giant, Another World Entertainment, Atari Bare Escentuals, Ducati, eBay, FitBit, Fenty Beauty, GAP, Guittard Chocolate, Hims, ICON Magazine, Kat Von D Beauty, Kendo Brands, Levi’s, Marc Jacobs Beauty, Mens Fitness, Perricone MD, Popsugar, PUMA, Seagate, Sephora, Target, Volvo, W+K, Walmart, WIRED
Meet DORIS
ATTRIBUTES:: Fast, Repetitive, Precise
- A 121-pound state-of-the-art robotic hand that can capture shots and angles impossible to get by hand, move products with machine-level precision, and shoot epic continuous shot videos.
- DORIS can execute the exact same movements shot after shot, down to .03 millimeters.
- The robot arm can get the exact frame, at the exact moment you need, moving at incredible speeds on a preprogrammed path.
- The robot doesn’t just operate as the camera person. It can be used as a model mover, carrying out rotating, swooping, and graceful prop movements over and over. Each setup is unique.
- DORIS works well with others and can be programmed to move in sync with other machineries like motorized prop movers or launchers for elaborately choreographed shots. Assembling food or products, throwing food in the air, or spinning makeup are a few examples.
atedge: As advanced technology becomes more affordable, we seem to be seeing more and more photographers and videographers using robots to help them create jaw-dropping work, which requires precise movements. RC, when were you first introduced to robotic motion work?
RC: I was fortunate enough to freelance for the groundbreaking company in San Francisco called Autofuss back in 2012 before it was sold to Google. Founders Jeff Linnell and Randall Stowell bought a couple of castoff robots (formerly used in auto manufacturing in Detroit) and integrated them into their production workflow creating mindblowing and visually stunning projects. These were massive robots that were also beyond expensive. Ever since then, and for years, I tried to figure out how to do a similar set up on a smaller scale for table top photography. Then in 2018 I found just that and purchased my first robot that I named DORIS after my mother-in-law. I have been passionate about customizing her and perfecting this powerful new tool.
atedge: Can you tell me about your first job partnering with DORIS?
RC: The first job was for Chi Chi’s Salsa early with BBDO SF. We were still tweaking the software and it wasn’t quite ready. Some challenges that we faced then, was it was vital to previsualize every move in pre-production using 3D software, just to make sure we could actually make the moves we promised the client. In addition, the client wanted longer moves that the robot’s arm was just short of. So we put DORIS on a dolly to get that extra length. I was very proud of the final deliverables. We had 3-4 final pieces, which were definitely experimental to say the least.
atedge: Do you and DORIS have a dream job working together?
RC: I love tinkering and pushing creative boundaries. My favorite collaboration is when a client shows me their ideas and asks me “Can we do it?” Our FENTY Beauty piece was initially my team playing and creating a spec piece that set out to challenge DORIS and push her to the full limit. We really went for it. There was a lot of movement and this was the first time we added an additional rig to create multiple explosions using a compressor and pneumatic cylinder. FENTY then ended up loving and licensing this from us.
Clearly, I have a bit of a love affair with DORIS, and I always want ot shoot with her, but honestly, the hardest thing to recognize is when to use DORIS or not. I have run into situations, where I know Doris may slow us down and would probably not be the right fit for the job, and then making the call to go a different route.
atedge: Have you come across clients who opt for CGI or now AI versus shooting live?
RC: Of course clients have opted for CGI and I am sure there is an allure to try out A.I. for campaigns. That said, there is a big push for clients to go more practical. I think everyone is curious about A.I. now, and I don’t think it is going away. I do think it can be used successfully as a tool to previsualize or create backgrounds for the work I do with DORIS. I actually used a combination of DORIS and CGI when creating work for LEXIP really successfully.
