BEYOND THE GATES EP 8
For Episode 8 of Jurassic World: Beyond the Gates – Creator Edition (published on the official Jurassic World YouTube channel), I was invited back to help launch two new releases in the Legacy Reimagined line: the Real Feel Triceratops and the Real Feel Velociraptor Moto Pursuit Pack. While the overall structure of the episode echoed my earlier collaboration on Episode 4, this project gave me the chance to focus on a different kind of storytelling—one that highlights the craft of toy photography while offering practical tips for collectors interested in trying it themselves. It was a chance to blend professional insight with product showcase in a way that felt both hands-on and imaginative.
CREDITS
Client: NBC Universal
Partners: Jurassic World, Mattel, Target
Roles: Creative Direction, Art Direction, Story, Photography, Animation
Tools: Sony a7iv, Adobe Photoshop, Adobe After Effects, Adobe Premiere Pro
PROJECT BREAKDOWN
For this project, I followed a three-phase approach: pre-production, production, and post-production. This structure helped shape the creative direction from the ground up.
01
PRE PRODUCTION
02
PRODUCTION
03
POST PRODUCTION
PRE PRODUCTION
The concept for this episode revolved around giving viewers a closer look at how to stage, frame, and light dynamic toy photos using the new figures. I wrote the script with education and accessibility in mind, balancing product reveals with creative encouragement. Since final figures weren’t immediately available during planning, I used placeholder toys to test composition and camera framing—especially important when planning around motion graphics and logo placement. Storyboards were created to visualize pacing and key moments, helping ensure the entire team was aligned from the start.
SCRIPT
I developed the concept and wrote the script, centering the story on a surprising twist: raptors from different breeds working together to escape their enclosure. Since this particular Mattel set included all three key raptors from the original Jurassic Park trilogy, it was a unique opportunity to tell a fresh story—one that fits within the universe but has never played out on screen. The goal was to shift the focus from instinct to intelligence and teamwork, while staying grounded in the franchise’s tone.
STORYBOARDS
I sketched each panel by hand to map out the framing, composition, and pacing of the story. The storyboards served as a visual blueprint—not only helping me plan the shots, but also making it easier to communicate the vision and align with the team during the approval process. Collaboration played an important role in refining the narrative, ensuring it hit key marketing objectives while staying focused, visually driven, and true to the spirit of the franchise.
TEST SHOTS
Early in the process, I created framing mockups using stand-in dinosaur toys. These helped me plan how to fit multiple characters into a single frame while accounting for additional graphic overlays like title cards and logos. This type of early testing made the production phase more efficient and reduced the need for reshoots.
DIORAMA CONSTRUCTION
To ground the figures in a believable environment, I built a new diorama using insulation foam sculpted into rocky terrain, layered with plastic plants and real sand. A few set pieces from Episode 4 were reused and retextured—something sharp-eyed fans might catch in the final edit. The goal was to create a set that felt tactile, cinematic, and scale-appropriate for both the Triceratops and Moto Pursuit Pack without overshadowing the figures themselves.
PRODUCTION
With the diorama in place and the final figures on hand, I captured a full set of toy photography, b-roll footage, and behind-the-scenes process shots. I also stepped back in front of the camera to introduce the products and walk viewers through my approach to staging toy photos. Everything was designed to feel cohesive—cinematic in look, but practical and informative in structure.
PRODUCT SHOTS
To make the product showcase more dynamic, I set up the diorama with intentional lighting and scene composition—giving the figures a sense of context and scale beyond a plain studio backdrop. The environment helped highlight key details of each toy while also making the footage more visually engaging. In addition to capturing video, I used the opportunity to photograph the figures within the same setup. Shooting product this way creates a stronger connection between the toy and the world it's meant to inhabit—transforming a static reveal into something cinematic and story-driven.
CAMERA ANGLE TEST SHOTS
The toy photography tips I wanted to include in the video emphasized the importance of taking multiple shots along with exploring various camera angles.
POST Production
After filming, I edited the full episode and added motion graphics to support the photography tips. Lower-thirds were used to call out helpful insights throughout the video, while select b-roll sections were supported with voiceover to keep the flow conversational. No motion comic this time, but the storytelling came through in the visuals and the way the information was shared.
The final photo features Owen Grady in tactical gear riding alongside the Triceratops on his motorcycle—positioned as if mid-wrangling, with two Velociraptors flanking either side to help steer the charge. The canyon-style diorama was arranged to frame the action, while a subtle motion blur effect adds energy and movement to the scene. Shot with a dramatic Dutch angle and lit to evoke a golden hour sunset, the image captures a cinematic moment full of tension, color, and momentum.
FINAL THOUGHTS
I’m grateful to NBCUniversal, Mattel, and Target for the continued trust and opportunity to help shape Beyond the Gates: Creator Edition. It’s been incredibly rewarding to share not just the final visuals, but the creative process behind them. And if you’ve made it this far—thanks for reading! Keep collecting, keep experimenting, and don’t hesitate to tag me if you dive into toy photography yourself. I’d love to see what you come up with.
