By christinewatson / / Brothers Taylor and Elliott Jobe are the founders and co-executive producers at There, a digital set company that is helping change the way directors and producers approach traditional and digital shoots. ——————– What’s the meaning behind your name? If you think of the term “getting there,” it refers to both a physical destination and a successful conclusion. We strive to provide both to our clients. Wherever our clients want to shoot – whether it’s a jet interior, a stadium, a train platform, or a place that is yet to exist – we get them “there” in the most convenient way possible, by bringing the location to them. And all in a way that is even more flexible and immersive than a location shoot. We know there’s probably no quick way to do this, but can you please explain your process? For our clients, the There experience and process feels much the same as a traditional on-location or set-build shoot, but without the physical challenges and limitations. Beginning with pre-production, There works directly with the director and production designer, to determine what set elements need to be practical, and which digital. Just as clients scout physical locations for a shoot, There builds digital sets during entirely in pre-production removing any concern about ‘how it will all look’. This allows the focus of the shoot day to be on composition, lighting, and performance. After the edit is approved, we quickly go through and do the final compositing to sweeten everything up before color correct. What makes this process unique? Almost every step of our process occurs before the shoot, so the client knows exactly what they are getting. Our on set live compositing is also a very unique service normally only seen in big budget movies. What’s your favorite project so far? We created the Death Star conference room for ESPN and Lucasfilm. Lucasfilm liked the look of our sets so much, they asked to keep renders of them for the Lucasfilm archives. What could be better than that? If you got the chance to work on your dream project, what would it be? There has all kinds of dreams, but an ongoing relationship with a retail client doing seasonal, regional, and multi-media campaigns would be sweet. We’re really interested in any project that wants to take creative to the next level. How do you think your line of work will change in the next decade? There is currently working mainly in the pre-production and production phases of projects, but we definitely see ourselves helping to transform the way clients treat location shooting. We see a future where a client walks in to any stage they choose, and walk out with footage as though they had shot anywhere in the world. Ultimately we envision — and have already experienced entire productions — based entirely on the digital set process. Particularly once the client has experienced how much more creativity our process allows them, practical shoots seem very limited, and limiting, by comparison. Outside what’s on your reel, is there anything extra you’ve done that you’re proud of? The amazing team we have built, and how we can completely transform our clients view of what is possible. We have also pioneered some event work such as at SXSW, bringing a new experience to a completely different audience. If you two weren’t running There, would you still be working together? Yes! If it wasn’t There, we’d be partners in another venture. Maybe flying helicopters. What advice do you have for anyone looking to get into your line of work? Go out and do the things people say can’t be done. There is nothing more fulfilling than helping people discover how much they can do.