Had an interesting shoot the other week with Elastic Creative where we had to capture an exec bicycling through various streets from different angles and such. Now I’m a big fan of doing things practically, but this was the perfect time for using green screen. It solved a number of issues from having to jack the cost up with either a camera car or process trailer, depending upon the weather gods to smile, maintaining focus and having the proper locations scouted and locked. Not to mention the nightmare of light and shadow control. Plus since they wanted all sorts of angles, we’d need a crane and scout more locations to match. And as we’re dealing with an exec, his time was extremely tight … you don’t want to spend days dragging him around to various locations. You’re luck if he stay for the few hours he can commit to.
So green is good – but creates a new problem: how to have him realistically ride his bicycle. The easy solution was to simply put him up on a bike stand a tilt the image in post. But you lose the perspective shift that happens in a ride by and his weight will not be positioned correctly on the bike. Enter Josh Koral and the good folks at ACME. The same guy who made the outdoor living room in Justin Herman Plaza I shot for Elastic a while back. He made a simple but effective bike rig that gave us great control over the rig to tilt and spin it while he was riding. And there was just enough play in the handle bars to do a little twisting for the turns. The result was awesometown.
And how about that crane shot that was ordered? Well, that’s the beauty of having a tall stage with your own scissor lift – easy high angle shots (as long as they’re static). That’s our Red up there strapped to the top with Joe E. Rivera making sure it doesn’t take a header.
And here’s the final film.
We’ve been clearing out the studio for the past week (and this week to come) in preparation for the grand remodel. Soon the walls will come down, the floor will come up and basic chaos will ensue. Slowly from there, order will replace chaos, walls will return, power will surge, paint will dry and we’ll be in full swing.
Our first project is already booked up, so we best get busy. The San Francisco Film Society will be hosting a class or two in our joint. Most appropriately, the Advance Lighting Class taught by Joe Mendoza of Little Giant Lighting & Grip fame. Should be good to kick the tires.
Meanwhile, we’re looking forward to a little post-production time to wrap up some of the projects we’ve ushered through while the studio was a bare shell. Photos and videos and creativity, oh my! Too much fun really.
Lastly … thankfully, it’s BBQ season once again! I’ve been just killing it lately. I’m looking forward to getting it going full tilt. Plus when the studio opens, it’s the perfect excuse to have a summer open and close BBQ. (I need to make sure they run a gas line out by the door! … I know, I know … but they’re just so easy!)
Cool! So one of the Doritos spots I worked on (camera op) and provided gear for was selected as the top five! It’s a great spot and made possible by the talents of a number of people involved. Good friend Bob Brindley plays in it (and it’s where I was introduced to Erin Coker). The Dandy Dwarves put it together and did one hell of a job at it. The concept was a last second game plan and I thought it was pretty cool when I heard it. Just the right amount of off-the-wall.
So now what … head over to http://www.crashthesuperbowl.com and click to vote once per day (for TOO DELICIOUS)! The top vote getter is going on TV during the Superbowl! To see the spot spot directly check http://www.crashthesuperbowl.com/#/gallery/video/330/
The spot was shot on our Red with the Red 18-50mm T3 zoom. A smattering of HMIs fleshed out the landscape with some kino fill. I also appreciate the details like the name of the company as Dusterman and Crunché.
