Click here to go to the first RED TEAM post in this thread.   Thread: Taylor Swift " Bad Blood " shot on Weapon by Christopher Probst

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  1. #61  
    Senior Member M.Halsell's Avatar
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    Aug 2007
    New York-NY
    Awesome. Looks great! Lush.
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  2. #62  
    Senior Member Antony Newman's Avatar
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    Mar 2012
    London, UK.

    Your team has cooked up the recipe for awe in this piece!

    I hope it also serves as a platform to propel Ms Swift filmwards.

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  3. #63  
    awesome job. thanks for breaking down the shoot as well. really love that these forums exist for such useful insight and discourse.
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  4. #64  
    Senior Member Etienne Perrin's Avatar
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    May 2015
    Paris, France
    Thank you so much Chris for the BTS, the vid is simply amazing.
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  5. #65  
    Senior Member Gabriel Scindian's Avatar
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    Sep 2009
    Washington, DC
    Quote Originally Posted by Christopher Probst View Post

    Okay gang, here's the skinny... I'm super honored to have the opportunity to be one of the first to shoot on two 6K Weapon Dragon cameras... Jarred and Brent jumped through some hoops to allow my grubby hands on TWO fresh out of the oven 6K Weapons for our Taylor Swift, "Bad Blood" shoot. We also had some rad on-set support from Justin Jones, who had some extra parts and made some mad-dashes back to Red Irvine to get me more monitor adapters for the two cameras. Additional high-speed work for explosions was obtained with Camtec's Phantom Flex 4K... Though we had 4 other Weapon/Dragon cameras rolling between 86 and 200fps for this material as well.

    With prepping the two brand new cameras, much of my Carbon Fiber accessory support like riser plates and top plates didn't exactly apply anymore. The body is shorter both in height and length. So some improvisation was in order. Prepping out of my usualy camera house, Camtec, in Burbank Calif. I pieced together a few cheeseplate options for additional topplate screw positions.... You can see here in these prep pics...

    We shot the video on the new Arri/Zeiss Master Anamorphics except for a few Ronin shots where I used my smaller/lighter Kowa anamorphics on the gimbal. Our locations were all in downtown LA, both on practical locations and at LA Center studios for some of their office interiors/exteriors and stage work for set builds and bluescreen work.

    Our "lab" set was constructed by production designer Charles Infante and was incredible to look at and light.

    As much as this video is about explosions and knives and swords, it's also about beauty and fashion... Having amazing looking talent in front of the lens goes a long way!

    We shot 2 days in the underground parking lot of the LA Convention Center... Some of you may recognize it from my Lexus Super Bowl ad I posted... So I didn't want to repeat the treatment I gave it for that spot... Instead of turning off all of the overhead lighting, this time I elected to use it as an architectural motif to build off of.

    One of the first sequences we shot there was the motor cycle chase/performance.

    We also constructed a boxing rink and used the depth of the entire garage in the background.

    Also featured in the parking garage is the "Ice Box" set...

    Another prime location in the video is the downtown bank that has been used in films like Zodiac and Dark Knight... There we set up our training facillity where much of the cameos and badassery ensues.

    A separate location was used for the Locker Room set, which featured more gothic tiled arches that we built a more clinlical, modern structure inside of as a textural juxtaposition.

    And finally, there was the stage work... We had a huge 120' by 30' bluescreen cove for "exterior" shots and also a little hallway set that plays in the middle of the video.

    And here's some of the finale images of the explosion sequence...

    Chris, I am in AWE of your work and what the Weapon can produce. Looking to see more. What software was used to create the composites? Color grade and Edit
    Gabriel Scindian

    Epic Dragon #04153 - FatBoy V2
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  6. #66  
    Senior Member sam windell's Avatar
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    Jan 2014
    Los Angeles, CA
    Chris, I really dig the Sin City/Watchmen hybrid feel when Taylor goes out the window and lands on the car. Sequencing there is sick and the hard pans into locked off on the very opening shots are kickass.
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  7. #67  
    Junior Member
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    Mar 2013
    Looks awesome.
    Daniel Shojaei
    CEO - Ontario Camera Rentals Toronto
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  8. #68  
    Senior Member Elias Tejeda's Avatar
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    Jul 2012
    Vancouver, BC
    Quote Originally Posted by Martin Stevens View Post
    The VISUALS are ..... Fan-friggin-tastic!!!

    took the words right out of my mouth
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  9. #69  
    Great job!
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  10. #70  
    I feel like you guys had an awesome time shooting this video and its almost like you can tell when people had a great time shooting something. I bet those master anamorphics are awesome wide open. I would love to get my hands on them for a shoot one day. I like your choice of shooting wide open and adjusting through iso and ND the few times I've used the master primes Ive taken the same approach. I felt like that approach on the MX sensor almost made the footage a little more contrasty or it lost some of the latitude or something but on the dragon I don't really feel that way. The color pallets were perfect and read so well referencing the older movies. Awesome work man! I have a question for you though... Did you use any skin tone filters? If so what is the difference to your eye in using the skin tone OLPF and filtration?

    Quote Originally Posted by Christopher Probst View Post
    Nick, good questions... I find no matter what the subject, I just prefer to shoot wide open most of the time... So when you start lighting something, you know, with LIGHTS, shit gets brighter... Now you can start slathering on ND and stopping down the lens... But also, as long as the sensor is not clipping, you can lower the ISO some and clean up the image all the more... So why not?

    I play a constant game of color temp, tint, iso and filtration to end up where I do for each and every scene... I too look at people's camera settings when the post pictures and often scratch my head trying to find a reasoning behind it... I think MANY don't give it much thought at all, and to me that's NOT a working method, that's flying blind.

    The vast majority of the video is Low Light OLPF, for good reason. Only the actual day exterior was Skin Tone...
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