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TELECOM NZ "Mobile2011" - shot on EPIC

Mark Pugh

Mark Pugh

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One of my latest. The first production shot and aired in New Zealand on the EPIC.
Thanks to all the crew involved!
attachment.php

http://www.markpughfilms.com/Site/TELECOM_NZ_Mobile2011.html
 
wow. one of the best I've ever seen. amazing! how long did it take to shoot this
 
Four days, plus aerials (Such a nice camera to use with the Tyler mini in a chopper!). I'm loving shooting on the EPIC so much. It's so adaptable, and the frame rates available are making it a no-brainer choice.
The clients were talking film and Alexa, so I had to sell them through a camera they hadn't worked with before, or seen.
I've been doing a bit of that lately - swinging around film diehards.
Results are consistent, though, so everyone's been happy.
 
I considered doing that shot HDRx for a minute - the sun was coming up, and the sky was getting brighter and brighter.
Then it was decided a character was going to cross in foreground, quickly crossing the window - killing me by causing big problems with HDRx.

As much as I love HDRx, it's most reliably used for landscape shots, where no motion artifacts will come into play.
Choosing to light the man properly instead gave a much nicer image, anyway, without a doubt.
There's something to be said for taking the time to put the light where you really want it, using your mind to make something better,
not just using technology to get over the line.

I'm not trying to knock HDRx, but you have to be careful using it, as anyone experimenting with it will find out, and it's important to not let yourself become lazy. Experimenting with light is more fun!
 
Hi Mark,the spot looks beautiful, i wanted to ask you what was the "project base frame rate"???
 
Mark so with that said, how DID you light the old man at the end out of curiosity? Just bounce light from the window or a Kino or other soft source?
 
18k out the window, off to to the right.
A pizza-box soft silver hidden behind the desk bouncing back into him(diffused with 4 x 4 251 for the close-ups).
A mirror bouncing the sun (not very well because of the angle) from out on the left.


For the reverse (shot from outside the window) I blacked out the sun with a 12 x 12 solid, letting just a bit of ambient sky come in from the top.
I wheeled the 18k into the kitchen at the back of the house (never done that before!) to light up the back of the house down the corridor.

The only lamp used for exteriors was basically just the one 18k.
The guy playing the at the bus stop was a 4k, in the failing daylight
 
Awesome work Mark, and as a Kiwi, I think you did a good job of capturing the feel of New Zealand in the lighting in this spot, it compliments an aspect of our natural light that I find hard to describe, especially in the opening shots in the hospital.

Just wondering if the feel of the grade and the lighting choices in the locations which are meant to be New Zealand were driven mostly to match natural conditions, or whether there was a definite artistic style you and the director were aiming for that led to the look?
 
Craig Parkes said:
Awesome work Mark, and as a Kiwi, I think you did a good job of capturing the feel of New Zealand in the lighting in this spot, it compliments an aspect of our natural light that I find hard to describe, especially in the opening shots in the hospital.

Just wondering if the feel of the grade and the lighting choices in the locations which are meant to be New Zealand were driven mostly to match natural conditions, or whether there was a definite artistic style you and the director were aiming for that led to the look?
Click to expand...

Thanks, Craig.
Hey what do you mean "Meant to be New Zealand"? it IS New Zealand.

The client's logo is a spark, so fits with the idea of pushing light at the lens... flare / spark.. yup.
So everywhere I tried to push this idea lf the light being it's own force, a little bit out the control of mere mortals. It's a theme I've continued from my last Telecom NZ spot - "Sunrise/Sunset" (shot on Red MX):
http://www.markpughfilms.com/Site/Telecom_NZ.html
It also happens to be a lot of fun.

It's something I woudn't have pushed so much shooting film, where you can't meter a flare, so you don't know so well what's going down.
It's definitely an up-side of shooting digital for me!

Prior to the shoot, the client looked deep into the director's eyes and said:
"Everyday Extraordinary. That's what it's about".
I told the director that's a fine thing to have as his epitaph, and a good theme for a spot, also.
So I guess I pushed things into a that sense of special light for that reason also.
 
Mark Toia said:
Nice work mate :)

Taking your 35mm skills into EPIC land really shows.
Nice simple beautiful shots.

I wont shoot any job without my Epic now. It's just going backwards if I do.
Why would anyone contemplateusing Alexa over Epic.

Great work mate.
Click to expand...

thanks, Mark
 
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