Rezoom National Spot with Gary Player- Professional Golfer
Some productions go exactly as planned.
Others remind you why planning only gets you so far.
In 2008, Digital Studios West produced a national television commercial for ReZoom, a multifocal lens replacement product from Abbott Laboratories, starring professional golf legend Gary Player. The shoot took us to Miami, Florida, where Mr. Player himself had suggested a stunning golf course location that perfectly fit the tone of the spot.
”This day reminded me that filmmaking is really just problem-solving under pressure — and I had one hell of a crew.” – Paul Sadler
The concept was clean, elegant, and precise — much like the script. The shot list was extensive and tightly scheduled, with scenes split between the golf course and interior locations. We were shooting on 35mm film, using large movie lights, a TECHNOCRANE provided by Panavision Orlando, along with Panavision cameras, lenses, and additional support gear spread across the greens. A child actress played Mr. Player’s granddaughter, adding warmth and humanity to the story.
What we didn’t account for was Florida weather.
Midway through a setup, dark clouds began rolling in faster than anyone expected. We pushed for the shot. At nearly the same moment we got it, a golf cart came racing toward us — the course manager frantic, waving us down, warning of incoming lightning strikes.
And then we saw it.
Lightning hitting the ground in the distance.
For a brief moment, everything slowed down. We were standing on open land, surrounded by cranes, lights, metal stands, and a 35mm camera high in the air. Radios lit up. Orders went out fast. The crew moved faster.
Our Florida-based grips immediately knew what to do. The Technocrane was brought down. Large metal items were grounded and covered. And before I could even get myself under cover, my first AC already had the camera off the crane and was sprinting it back toward the trailer.
It was chaotic. Focused. Almost surreal.
Most importantly — no one was hurt.
The lightning passed, but the rain didn’t. And with only one day scheduled to complete the shoot, losing hours to weather wasn’t an option.
After a quick crew meeting, we pivoted. Interiors first.
We moved to a nearby rented home and immediately began working through the interior scenes. No panic. No complaining. Just a collective agreement to keep moving forward. By the time we wrapped interiors, the rain finally broke — and the sun came back out.
We were close.
But not done.
A handful of exterior shots on the green were still missing. Rebuilding the full crane and lighting package back on the course before last light wasn’t realistic. So I stepped outside and went looking for a solution.
Two houses down, I spotted it — a narrow gap between homes where, with careful framing and a little post-production finesse, we could cheat the location and complete the remaining shots.
That was the moment.
We grabbed the camera, a tripod, and a handful of high-powered interior lights. Extension cords ran. The setup was lean. Efficient. Surgical.
Mr. Player understood the assignment immediately — and delivered. Professional, focused, and completely unfazed by the day’s chaos, he nailed the final scenes with ease.
And that was wrap.
Looking back, it remains one of the most intense — and rewarding — shoots we’ve been part of. A perfect reminder that production isn’t about conditions being ideal. It’s about how you respond when they aren’t.
When the plan breaks, the crew matters.
When time runs out, decisions matter.
And when obstacles show up, how you handle them is the whole story.
When the Work Gets Real
That ReZoom shoot is one we still talk about — not because everything went wrong, but because everything came together when it mattered. It’s proof that great work doesn’t come from perfect circumstances, but from experienced crews, clear leadership, and people willing to adapt in real time.
Sometimes the most cinematic moments happen behind the camera.
