his videos on You Tube, he figured he might as well go
“I realized that they were [posting] shitty versions,”
he says. “[I thought,] ‘I can’t beat this crowd, I have to
join this crowd. I want to be in control of the media.
This is where it’s going.’”
The gear he uses to make his films has evolved
over his career from self-financed 16mm films to big-
budget 35mm commercials, then Mini DV tape and
crop-sensor DSLRs. Before the advent of Live View for
DSLRs, he used an improvised rig with a lipstick bullet
cam and cobbled together a software solution to grab
frames to compare against the makeshift live view.
These days he uses the industry-standard Dragon
software and a Nikon D810, but PES’ career has been
defined by making use of whatever he had access to
and pulling off high-quality productions, whether
he’s using state-of-the-art technology or just what he
found in between the cushions of his couch.
THIS PAGE: A still from the Emmy-nominated Honda commercial “Paper,”
directed by PES (top left); three behind-the-scenes images show the
time-intensive process of layering illustrated paper scenes for “Paper”