I was very happy with what I was seeing on my laptop to my right and I know Stash was excited about what they were seeing on the client monitor. You could feel the energy.Our second set took place on the True Blue seamless background. But, the composition would be unique: a shot from directly overhead as if Baddie was floating on a pool and we were looking straight down. The scenario was tricky, because all the lighting had to be flipped 180º as if the floor was the wall. It required a lot of grip problem solving and all of our sandbags to make it happen. Nevertheless, the setup was fairly the same as the previous setup, only a few alterations such as the Profoto 5’ RFi Octa Softbox fill and the constant lighting of the Kino Flo Diva-Lite 401 Fixtures. This was a fun few minutes. We placed Baddie in a static position and let her run with it. After a few shots, I realized by standing above her out of sight, I was losing some of the connection I had with her. So, I asked my assistant Ahmad Merhi to fire the shutter from Capture One and I sat on a full apple box next to her where she could clearly see me. I soon came to find she was a big fan of Blake Shelton, so we pumped the country music and I asked Baddie to imagine she was dancing with Blake. Emily, came in swiftly with various props such as various (and ridiculous) drink ware, fake money, floats and beach balls. It was perfect. At this point, I was happy. But, we decided to squeeze one more set with Baddie. After a short break we reset the lighting similar to the first set, just on the True Blue background and Emily setup a massive shell float. I had shot both scenarios static, meaning on a tripod or locked down. So, I wanted to break free this set and shoot more unique angles. As soon as I picked up the camera, Emily and Alex brought in the bubble guns and started filling the scene with bubbles. We played around with various composition, expression, props and poses until I felt we had more than enough to work with in the end; wrap. The post production process was intense and very short. With a wild deadline, we had to make the proof selection, re-touch and delivery all in less than 4 days, but we did it thanks to my staff and re-toucher Jordan Hartley. Once we made the delivery, the murals were mocked-up by an art director handed over to the team at Colossal Media to begin the mixing and painting process in Brooklyn, New York.