Famous and Professional Photographer Profiles: CASS BIRD : DAREDEVIL JEANS

The most recent advertising campaign from jeans-brand Wrangler has Hollywood stunt people focused on fire, jumping through home windows and skyrocketed by explosions. Caroline Wilkinson talks to digital photographer Cass Bird to discover how she worked out taking these daredevil actions

WRANGLER AND STUNT PEOPLE share a typical history. The jeans brand's original clientele were rodeo riders, who also did the stunts in Hollywood westerns - the initial action movies.

This campaign, known as Stunt, was choreographed to reunite the company using its cowboy action-hero heritage, however with a contemporary twist that captures Wrangler's classic western, adrenaline-driven roots. The raw. primal, genuine action seemed to be as one example of the clothing company's We're Creatures campaign message because of its award-winning series, which released in 2008. and is about reawakening man's animal instincts. The concept is most likely their most shocking up to now however , would go to prove the company is about sturdiness, adrenaline and authenticity Cass Bird informs us more.

“When Parisian advertising agency Fred & Farid, the creative company directors from the campaign, were determining around the concept they understood they wanted the stunts to feel real and true. I believe I had been selected since i bring some spontaneity to my work they wished to utilise due to the momentary character from the shoot. I had been so excited paper campaign provides extensive potential also it am not the same as my usual commercial portraiture because it really pressed me from my safe place. I have never possessed a commercial campaign shoot that needed a lot fearlessness and trust. Everybody active in the shoot had an advanced of belief and provided room to experiment.

“The series was shot over 2 days at Vital Galleries in La, because the space given itself perfectly towards the scale from the stunts. It had been an enormous production with producers, art company directors, the clients, photography and lighting staff, the conventional hair, make-up and styling people in addition to four stunt people, first aiders, security and pyrotechnics on set. I labored having a great producer. Jill Roy from three Star Production, and director of photography Keith Leman, who assisted me capture the moments on camera and also to cover the stunts from various angles. It wasn't uncommon that I can have my assistant like a second shooter too.

"As I shot the stills for that print campaign, everything had been taken electronically too for that behind the curtain and web footage. The photos were drawn in every way imaginable, from Super 8 and also the Red-colored camera to Canon film and digital SLRs - there have been no second chances. We staged cameras on the floor as well as grown them from second-storey home windows to capture the experience of all the position. We used the Red-colored. Super 8, a Canon Eos 550d 5D and Eos 550d 7D for moving pictures and, for stills, a Canon Eos 550d-lDs Mklll, Eos 550d 5D Mkll, Eos 550d ID MkIV, a number of contacts as well as some time-and-shoot cameras.

“We wished to light the moments as naturally as you possibly can but may needed to boost the ambient light using HMI lights to capture our prime-speed sequences. We hooked the lights to some scissor lift plus some cherry pickers to own appearance of sunlight and used 12x12 Griflons to fill the area using the light.

“We always needed to think about the safety from the stunt males and ladies, in addition to ourselves. Each one of these was place in situations where they may be seriously hurt therefore we needed to respect their limitations, because they are more conscious of their abilities than I was, and shoot around their physical restrictions.

Stating that, we still had them jumping from a 25ft-high glass-paned window, being skyrocketed through explosions and hang burning. To obtain the type of images we would have liked of these and also the explosions required a couple of dry runs, but there is some luck involved, as ultimately we simply needed to go for this and hope our timing was just right. Seeing them fly with the air with fire bellowing in it was incredible making probably the most creation from the campaign.

"Probably the most cha-llenging stunt was the window. It had been the final among the shoot and also the only stunt where subjects got hurt, inducing the shoot being wrapped. They used a genuine glass pane with explosives round the outdoors, which needed to set off right before the stunt person hit the glass to melt the outcome. The very first stunt guy split the bridge of his nose, then your stunt lady was hurt in the same spot. They give them a call ‘stunt kisses' regarding them it had been a little slash. Overall. I can not imagine the number of pairs of jeans we've got through however they were layered over protective fabric, sometimes to the stage they could not even button up."

For footage from the shoots and also to see campaign images, visit: we-are-creatures

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