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How To Paint A Car Commercial

How To Paint A Car Commercial

– Hello, and welcome to
The Shirtless Painter. Anyone can paint, and anyone can paint anything they want. And today, I’m gonna show you how to paint a car commercial. See, I’ve prepped my canvas here. We’ve got sort of just
the baseline commercial, a green screen set laid out. So, go ahead, and if you’re
following along at home, take time to do that. And we’ll flash, on the
screen, some of the colors that we’re gonna be using today. What do you say let’s get started? Okay, so we have our sort
of concrete floor area here, and, of course, our 360
green screen studio, so the first thing that a car
commercial needs is a car. And a car can be any color. I think I’m gonna start with a nice Lamborghini red. Look at that. What the heck, we’ll just give it a kiss. Kiss of yellow. And we take our car brush, and just begin to just lay out the body of the car, can be any kind of car you choose, can be a hatchback, can be an SUV, anything you like. Don’t let anyone tell you
what kind of car to paint. So we’ll just sort of get the roof in there, maybe there’s sort of a rack up there where you could
put your skis or snowboards. You make the call. Okay. We’ve got the hood of our car here. Look at that. Now, I don’t own a car. It’s been a while since I’ve seen one, but this is sort of just a car from my imagination, and I encourage you to use cars from your imagination as well. Look at that. Okay, so we got our main car
show sort of laid out here. Before this car’s gonna go anywhere, we got to give it some wheels. Okay, so we take just a little
bit of our car wheel black. And just fill it in just like that. Maybe it’s four-wheel drive, maybe it’s a stick shift, completely up to you. Again, this is your car, your choice, your business. Just add a little, just a little stripe right there. Another little wheel stripe right there. Now, we don’t want our
crash test dummies or, god forbid, our people flying
through the front hole there, so we’re gonna go ahead and
give this car a windshield. Okay, so we take a little
bit of our Walter white here, just give it a nice kiss
across the front here, just a kiss, you decide how far it goes. If you want to move beyond a kiss, well, that’s between you and the car. What the heck, we’ll
give it just a nice big sort of bay window here, let all the kids look outside as you’re driving to
grandma’s or grandpa’s. Beautiful. Okay. So we’ve got our studio and our car, and no car commercial is
complete without the director. Someone’s got to call the shots. We’ll go ahead and take a little
bit of our director yellow. Mix it with our car mix here. And, what the hey, give it just a little bit of the Jaleel White. Okay, and then we’ll give our director a little home over here. There he is. Just watching over things. Maybe things aren’t working out so well with his film career. I’m gonna go ahead and make
this director Steven Spielberg. Okay, so we’ll just take
a little Spielberg white and just give him a
little wisp of a beard. Spielberg beard. There we go, look at that. And, of course, we got to give him a signature Spielberg hat. I like to think this is a hat that he got while working on Bridge of Spies. There’s his baby blue eyes. So we’ve got our main
Spielberg head laid out here. Let’s go ahead and give him a body. All right, so we’re gonna give him a classic filmmaker vest, so we take some of our
filmmaker vest yellow and mix it with our Amblin
Entertainment white here. All right. There we go. And now it’s time for the rest. We’ve messed with the vest,
now let’s mess with the rest. He’s got a nice red shirt on. His friends might come up to him and ask, “Does the shirt match the car?” And he’s got an answer ready. So he’s got one hand sort of rested in his crotch there, and, in the other hand,
we’ll give him a classic quiet-on-set little bullhorn here just to quiet everyone down. There’s a lot of chitter chatter going on. Okay, so we got that. We’ll just add the quiet-on-set hole. A nice little hole at the front of that. Look at that. Add his jeans here. And he’s got one leg sort of crossed. He’s done this before. He’s directed a lot of big-budget movies. Simple car commercial
isn’t gonna faze him. So we could have him in
sort of a relaxed pose. Give him the shoes, whatever shoes he wants to wear. You got to sit somewhere
when you’re directing, and I could think of no better place than a nice, comfy director’s chair. Maybe it’s got his name on the back, maybe it just says director. It’s none of my business. Look at that. Gorgeous. Just add a little shadow
on the chair here. There we go. There we go, he’s the boss
and everyone knows it. Okay, so we’ve got our car
and our world-famous director. So the next thing we’re
gonna need is a camera. You can’t shoot a
commercial without a camera. Believe me, I’ve tried. All right, so let’s go ahead and add our sort of camera crew over here, we just add a
little standard camera black, nothing fancy, slot that right in here. And I think, for a shoot like this, you’re
probably gonna want a tripod. Okay. There we go. One, two, three. All right, okay, and since the camera lens is really
just the windshield of the camera, we’ll go ahead and just add a little bit of
our windshield color here, just to sort of make it official
that this is a windshield in its own way. And since we have Mr. Spielberg calling quiet on set, that means we’re rolling, so
we’ll just add a little bit of a record button, there we go. Red light means we’re rolling. All right, so we got our
camera, our director, and, of course, our car. It’s awful dark in here. What do you say we add some light? It’s always good to think
of ways to conserve energy, so why bother with fancy studio lights when we’ve got a car? What do all cars have
on the front of them? No, not hood ornaments, headlights. Let’s go ahead and add some headlights. Let me just add a little bit
of our Lamborghini yellow and mix it with our headlight white. There we go, just give it a nice couple of headlights
there, nice and bright. That ought to light the studio nicely. And while we’re in there, let’s go ahead and give it a nice little grill up front. Look at that. And just a little touch of
a hood ornament, why not? Okay, so this is a big Hollywood shoot. A lot of money and a lot
of people working on set, and those people need to be fed. Let’s go ahead and add
our craft services table. So we’ll just take a little
bit of our crafty white here, and here’s a nice area over here, we’ll just go ahead and slide
in a nice, big table here. Excuse me, Mr. Camera, plenty of room for both of us, don’t get upset. Everything’s under control. All right, so Spielberg has got legs, what do you say we give
this table some legs? Without legs, a table is
really just a big plate. So we’re gonna give it some legs. Okay. Ooh la la, look at the
legs I’m seeing here. Nice legs on that camera tripod. Gorgeous legs on that table. So, on our main table shape here, let’s go ahead and just give it a little shadow here on the
side, a little table shadow. And now for the fun part: the snacks. Now, we’ve got some hungry people on set, so let’s go ahead and give them some apples, a couple of nice red apples, it’s fall, it’s autumn time here on set. Nice, big, juicy apples. Okay. And, of course, this is an early morning, early morning call, so we’re gonna go ahead and have a big old tray of bagels here, sort of get our bagel tray purple color here. Okay. Okay, so we’re gonna go
ahead and mix some of our bagel beige here with
our white bread white. And we’ll just go ahead and add just some little circles here, nothing fancy, we’ve
all seen a bagel before. But I encourage you to have fun with it. You don’t have to stick
to the standard flavors, everything, cinnamon, raisin, go ahead and make up some new flavors. I’m gonna call this one, oh, what the heck, I’m
gonna call it mustard seed. So I’m gonna use just sort of beige and our mustard seed here. All right. There we go, look at that. Some nice bagels here, just give it a little, since it’s mustard, oh, what the heck, just add some mustard to it. There we go. And you’re talking to a lot
of people all day on set. People get bad breath, they’re
drinking a lot of coffee. We’re gonna go ahead and just
give him some packs of gum, just some nice packs of gum,
we’ll leave one right there. Got a blue flavor, now give
it a nice spearmint flavor. And, for the kids, just a little bit of bubblegum. Nice bubblegum pink right behind the bagels. So we’ve got our camera, we’ve got keeping everyone fed with
craft services table here. What do you say we go ahead and add our sound guy? Got to hear the audio. We’re going… You know what? We’re gonna add our sound woman, go ahead and just add her, oh, what the heck, right behind the craft
services table here. We’ll give her her own shirt color. She likes both flavors of gum, so we’ll add a little bit of green to a nice sound woman teal. All right, and we’re gonna
have her reaching high up, high up in the sky. Look at that beautiful woman, and she could have gone to film school, she could have gone to
school for something else, and just sort of found herself here, maybe started as a PA. It’s up to you. Completely up to you. Okay, so we’ll take a little
bit of our boom pole black here and just really… There we go. Look at that. What do you say we give her a hand? Or maybe two. That’s a little joke I make
every time I paint a hand. Give them a hand. Maybe it’s summertime, and maybe today to work, she wore her favorite yellow shorts. There we go. Nice yellow shorts. You know what, though? There’s
probably air conditioning blasting on set here, so
let’s make them yellow pants. We don’t want her to get cold. It’s easier that way, too. And we’ll just give her
some matching shoes here. She’s got black eyes, like a shark. And we’ll give her a shock of red hair. Okay. I’m gonna say, in my painting, that the woman running sound is Lucille Ball, maybe she came to Hollywood, things went a different way. I’m sure she’d do a
great job and be a legend in this field the same way she was as an actress. A comedienne. All right, so we’re running sound, we’ve got our director in
place, the car is ready to go, gassed up. So, we see the car, but we don’t really see
what the car can do yet. Let’s go ahead and add, why do we want to buy this car? That’s the whole point here. So we’re gonna go ahead
and add a roof rack here. A lot of car commercials
are aimed at younger people. A lot of younger people like to snowboard, so we’re gonna go ahead
and just add a snowboard to the roof of the car. So we just take a little
bit of our snowboard green. Look at that. And I’d like to just say a special hello to all the mothers out there. Without mothers, we wouldn’t have people, and, therefore, we wouldn’t have painting. So I just want to thank the
mothers for providing us with the people who paint,
and for painting their selves. Mothers can paint. Sometimes it can be busy being a mom, but you should always find time to paint, even to the detriment of your children. So we’ve got everything we need here for a commercial shoot, the only thing missing
here is my favorite mother, my wife. All right, so we’re gonna
go ahead and add my wife. And, you know what? Maybe Mr. Spielberg thinks he’s big, but we’re gonna make my wife really big. Okay, so we’ll just get
a little bit of wife face color mixed in here. Just slop it up real good. I’m gonna take a bigger brush here. And there we go, just add my wife up here. Just sort of overseeing the whole shoot. Spielberg’s focused on the creative, but just got to have someone around to make sure everything’s okay, make sure the craft services
table is stocked with bagels. Right now we’re out of cream cheese, and my wife is very good at keeping the cream cheese stocked. So we’ll go ahead and add
her ruby red lips here. I think she’s gonna, maybe, at the end of the day, if all goes well, she’ll give everyone a little kiss, including me, and you, too. My wife’s got long eyelashes,
like a drag queen’s, so we’re gonna go ahead and add those in there. Nice long lashes. And beautiful black eyes. Okay. We’ll give my wife sort of a short Liza Minnelli cut here, nice sort of old-fashioned flapper cut. And she’s got sort of a stern look on her face, maybe
she doesn’t agree with the choice that Mr. Spielberg made. Even he makes mistakes, and my wife’s not afraid
to stand up to him. And then we’ll just
add our wife body here. Just really mix together
our berry blue razz with our hatchback red here, and we’ll get sort of a nice, muddy maroon color. Very regal, and my wife is a queen. Don’t let anyone tell you different. Okay, so we’ll just, she’s got sort of a nice cable-knit turtleneck on. It’s a chilly day. And she’s maybe just reaching over here. Maybe she’s unhappy with the sound, and she’s just gonna
go ahead and take over from our sound woman. And she’s just sort of reaching in, reaching in from off camera here. Excuse me, off canvas. I’m so caught up in show biz, I’m starting to forget that I’m a painter. Just kidding, I would never. I would never forget. Never forget you’re a painter. All right, so she’s
just sort of wearing… Oh, what the heck. Let’s make it a big old long sweater dress right to the floor. Floor length. Nice floor-length sweater
dress for my wife, my big, big wife. Okay, and this is a big sound stage. She’s about 30, 40 feet tall, as you could see next to the big car here, our big, beautiful car, big, beautiful wife. Okay. And what do you say we
give my wife a hand? I don’t mean a round of applause, but I sort of do mean a round of applause. She’s a very accomplished woman, and we’ll just give her
long fingers in there, just sort of reaching out. And the final touch. She’s so big that she has to
use car paint as nail polish, so let’s go ahead and give her the same color nails as our nice car here, just some red, beautiful fingernails. Look at that. All right. Thanks for joining me on this episode of The Shirtless Painter. I invite you to take off your
shirt and paint along with me. There’s nothing better than moms, and there’s nothing better than painting, read my lips. See you next time, everyone. (jazz music)

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26 thoughts on “How To Paint A Car Commercial

  1. Please stop disrespecting the great bob ross, don't be racist, please, just let it go, he was a great man, we all love him, please

  2. I see expansion. Thirty celebrities in skewed positions painting blindfolded, the revealed canvases somehow together form a humongous portrait of a winking clown. Snakes writhing across the studio floor. Go to the mall, get some teenage twins and have them do separate abstracts of you while their psychic twin thoughts are conveyed by subtitle. (Some of this can be faked. You know that, right?) Meanwhile, you are in the center working diligently on an unseen canvas that is finally shown to display only a solitary teardrop. Love the yule log bit, but I think it should have been more like eight hours with actual re-dos that get more and more insane each time, finally ending in the spontaneous combustion of the canvas. (Some footage of an explosion or something, don't sweat it.) On the other hand, limited parameters often make the man. Just remember legends never die, SP. Legends never die…

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