Nick Pacione Creates Futuristic Images for Autoweek Magazine
Autoweek Magazine reached out to Nick Pacione when they needed a Dallas-based automotive photographer to shoot the launch of Toyota’s new 2020 Supra — in the striking color of renaissance red. Nick was one of seven photographers given the opportunity to photograph the car’s pre-release at Toyota’s headquarters, located just outside of downtown Dallas. He knew he wanted to create something that would separate him from the rest of the pack, as it would be his first time working with the magazine and the car would be shown to millions of people at the North American International Auto Show.
While the client aimed to showcase the vehicle as it appears in real life, Nick’s vision for the shoot was futuristic and sleek, requiring extensive technology to accomplish.
“I asked them if we could go above and beyond to capture something a little different, and they were very accepting of our vision and allowed us to carry it through.”
Nick wanted these photos to feel a part of the same mystical realm that comes through in the rest of his work, without taking anything away from the beauty of the car or the brand.
“Before I got the job, I had been playing with the idea of building artificial environments for the vehicles I was shooting. I had also been watching a lot of classic sci-fi movies. The art director at Autoweek was kind enough to inform me the car was red, and instantly I had to try to make it spacey. The idea in my mind was to make the vibrant red car pop out of what felt like the 'abyss,' as if it were in the loading phases of a simulation that was about to spit it out into 3D reality.”
Nick wanted to portray the car in a 3D space, so he hired Isaac Murray to run all the technology. Isaac captured the whole room using a 360 webcam. A special indicator near the car helped to correctly build the 3D environment while matching the one they’d be shooting in. Once he knew that the car would be photographed in a white vacuum space, Nick began thinking about how he would light the car in order to portray its occupancy in the dramatically open room. With the use of 20ft overhead diffused lights, they were able to position highlights upon the car that would further achieve the concept of the 3D space.
“From concept to execution, Isaac couldn’t have done a better job realizing my abstract vision.”
What was the shoot like?
“The shoot was pretty intense... I had from 1–5 PM with the car and those 4 hours passed in what felt in like 30 minutes. We left hoping what I saw on the LCD screen would translate to my desktop back home. Sure enough, everything looked as planned and we began the post-production process.”
What was your favorite part of this project?
“The best part was working with really talented people on something really ambitious and difficult. It's rare I get the opportunity to truly unleash on a project, and I felt we were able to do that with this one.”
What has been the reception of these photographs?
“They've been featured a bunch of places, including Behance's curated galleries and a bunch of car blogs. There's even a YouTube video out there detailing the best Supra content on the web, and we're the first project mentioned.”
Is there anything interesting you'd like to mention about this project?
“This project has raised me to a new standard of ambition with my work, and all that I want to do now is concept-oriented high-production work where I'm able to.”
Check out more of Nick Pacione at nick-pacione.com!
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