The shoot started the way these shoots usually do. Clean lighting, a tailored suit, a crew running through the standard setup shot by shot. Faris Shafi played along for a take or two, hitting his marks, giving the room what it asked for. It looked right on the monitor. It didn’t feel right anywhere else.<\/p>\n
Somewhere between the third take and the fourth, the room shifted. The suit came off. The lighting stopped trying to flatter and started throwing shadows instead. What was supposed to be a clean product shot turned into something rougher, closer to how Faris actually moves when no one’s asking him to perform checkered floor, low light, the HOT 70 Pro in hand instead of a script in front of him. Nobody planned that version. It’s the one that made the cut.<\/p>\n
That’s the whole idea behind the film. Faris didn’t scrap the shoot for effect. He did it because the HOT 70 Pro in his hand gave him a way to actually pull it off\u00a0 good enough behind the scenes to catch the shift the moment it happened, quick enough that the reset didn’t cost the shoot anything. The phone isn’t what he was selling. It’s what made the walk-off possible in the first place.<\/p>\n
Be HOT. Be Different.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" The shoot started the way these shoots usually do. Clean lighting, a tailored suit, a crew running through the standard setup shot by shot. Faris Shafi played along for a … Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":5388,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[10],"tags":[613],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t