Director: Jack Mergist
Executive Producer: James Rust
Director of Photography: James Terry
Writer: Daxson Hale
Concept by: Jack Mergist, Daxson Hale, Jared Gay
Recordist: Chris Burton
Production Design: Jen Paul
Hair/Makeup/Wardrobe: Juliette Lewis
1st AC: D’Aaron Gonzalez
Gaffer: David Thorpe
Grip: Daxson Hale
Editor: Jack Mergist
Illustrations: Jake Kongaika
Motion Graphics: Jared Gay
Colorist: James Terry
Post Audio: Jack Mergist
Music Composition: Jack Mergist
Behind the Scenes: Jared Gay
Scriptee: Nicole Sheahan
Set Construction: Nat Reed
Construction Assistants: Brock Arnold, Sara Thornton
BTS Photography: Jessica Frech
Production Assistant: Sebastian Meyer
Spokesperson: Stephen Jones
Daisy: Lemmon Palmer
Mom: Kelsie Sanabria
Producing the Owlet video brought up a handful of firsts for us as a production team. It was the first time filming with a baby as one of the actors and our first time building a set.
Meet Lemmon. They don’t come any cuter than Lemmon. Now, the thing with babies is that we tend to get so caught up in their cuteness that we forget about everything else. We forget about the fact that we need the baby to perform in a very specific way and do very specific things all while not being able to talk or comprehend anything that we have to say. It presented a few challenges to say the least. Patience was a necessary attribute to have on set and the crew all did a great job allowing for re-takes with Lemmon until we got it right. Owlet is very conscious of baby sleeping safety so we needed at least one sleeping shot of her asleep, on her back, with nothing in the crib with her. Lemmon is apparently a side sleeper so after a number of attempts, lets just say that we had to involve some movie magic to get what we needed. Guilty. We fixed it in post. Even though there were challenges during the process, Lemmon was an absolute doll and was exactly what we were wanting for the role.
We were excited about the idea of building a set for the interior of the house. So we hired a set builder, Nat Reed, and he started by giving us some drawings, followed by a small model of what things would look like. Not only did building a set give us complete control of space and lighting, it allowed us to do a pretty killer dolly shot, Wes Anderson style. The disadvantage of building a set that involves dollying through three rooms is that it takes a ton of work to build a set that big. It also doesn’t allow our production designer, Jen Paul, to start dressing the set until it is completely built. Not to mention, when you build a “house” from scratch, you’ve got to provide all the props and staging to make it look like a house. Jen nailed it on the design front and Nat built a killer set that made us all feel at home.
The key to producing such an extensive project like Owlet is making sure that you have the right people in place for each job and then staying out of their way so they can do what they do best. The entire crew from the top down went above and beyond and that is what made such a special video. It is one that we are all proud of for sure!