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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

F1 Racing comes to Austin TX shot on Epic

Mike McEntire

Mike McEntire

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www.mackdawgproductions.com
http://www.youtube.com/watch?v=0tEHQJn_hxo

Here is the latest project I was lucky enough to DP and co-Direct for Red Bull. This video welcomes F1 racing back to the United States at the new racetrack being built in Austin Texas. Was a pleasure to shoot with the Red Bull Racing team. It was shot with 2 Epics, 1 Phantom Flex, 1 Cineflex, and multiple Contour POV cameras. Shot in Austin in 4 days with temps about 106 everyday. The crew stepped up big time and handled the heat, dust, and choreography with ease.
Here are the players.

F1 Red Bull Racing
Driver David Coulthard
Producers Claude Merkel, Melodey Colyer
Directors Mike McEntire, Claude Merkel
DP Mike McEntire
Cineflex DP Carsten Bell
2nd Unit DP Milan Spasic
Phantom DP Nick Schrunk
Countour Cameras Brandon Parker
Editor Joshua Martelli
Sound Design Cedric Courtois
First AC Sherri Miranda
First AC Adam Schwartz
First AD Brook Barksdale
Cineflex Pilot James Jensen
Sound Mixer Scott Snyder
Production Manager Han Shafi
Production Coordinator Justin GIlley
DIT Matt Aines
Grip Pete Stockton
Grip Phillip Renke
Grip Sean Maxwell
3 Ton Driver Andrew Dallas
PA Matt Iha
PA Brian Murphy
PA Ester Garcia

Great working with such a top notch crew.
Hope you enjoy.
 
how many different frame rates did you use?

and what glass did you use. i see you had a zoom on the final shot
 
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It was all shot at 29.97 per Red Bull web specs. Not sure what zoom was on the Sony 1500 in the Cineflex which was the final shot. We used my Red Pro Primes,
Duclos 11-16, Angenieux Rouge 16-42 and 30-80 and Angenieux 25-250HR for the rest.
 
Outstanding. Great shooting and editing. It is cool that we are seeing more and more of the action sports on this forum. Mike's work has been around the snow sports for a long time.
Redbull along with Oakley have been producing some of the BEST images for quite some time.
 
Great video and thanks for sharing and please thank your editors for not going epically insane with the blade tool lol.


Just curious: is it known why they cut the track so deep?
 
Now here's one of the reasons I want to go Red Epic... Absolutely stunning, congratulations!!
Just to know, why didn't you guys go with Go Pro for on board? I'm planning to invest in some perspective cameras myself and would like to know which ones are the best for this kind of job...
 
Dan Passaro said:
Great video and thanks for sharing and please thank your editors for not going epically insane with the blade tool lol.


Just curious: is it known why they cut the track so deep?
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It has to do with the layering below the track. I am not too sure exactly why but it will not be that deep when completed.
 
Sergio Perez said:
Now here's one of the reasons I want to go Red Epic... Absolutely stunning, congratulations!!
Just to know, why didn't you guys go with Go Pro for on board? I'm planning to invest in some perspective cameras myself and would like to know which ones are the best for this kind of job...
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Contour and Red Bull were working together on this project. I have used both of them now and they are both great for POV and tricky/dangerous camera positions. It was awesome to put it on the Bull's horn and also on the harse saddle. I was super stoked on those shots for sure.
 
Looks awesome! mad props to that driver tho, must be hell driving on dirt roads with an F1 car hehe:-)
 
Mike McEntire said:
Contour and Red Bull were working together on this project. I have used both of them now and they are both great for POV and tricky/dangerous camera positions. It was awesome to put it on the Bull's horn and also on the harse saddle. I was super stoked on those shots for sure.
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Mike, thanks for taking your time to answer :) Those POV shots are amazing, and I really am surprised at the image quality they offer. My only concern is that they supposedly only do 30p, which is a big "nono" for my work here in a PAL country.

Can you tell us what was Epic what was Phantom and what was Cineflex? Did you do any slowmotion with the Epic? What were the Epic Slow motion shots?

I have to say really love the color you went for this, and that "inside barn" shot with the shadow of the Red Bull carl was absolutelly stunning- also Epic?

Cheers, once again, fantastic, world class!
 
Sergio Perez said:
Mike, thanks for taking your time to answer :) Those POV shots are amazing, and I really am surprised at the image quality they offer. My only concern is that they supposedly only do 30p, which is a big "nono" for my work here in a PAL country.

Can you tell us what was Epic what was Phantom and what was Cineflex? Did you do any slowmotion with the Epic? What were the Epic Slow motion shots?

I have to say really love the color you went for this, and that "inside barn" shot with the shadow of the Red Bull carl was absolutelly stunning- also Epic?

Cheers, once again, fantastic, world class!
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Yes that is one on the drawbacks of those POV cameras. The other is no manual control. If the light is even throughout the shot you can get a decent result with them. For this project the delivery specs were 29.97 so all cameras were shot at that frame rate. I have intercut the 30p POV footage into 24p timelines many times and it works. The key is to keep the cuts with the POV cameras short so you don't see how bad they really look compared to the other cameras. Glad you liked the spot.
Mike
 
wow. I'm truly jealous you had the opportunity to shoot that, congrats man. If ever you are involved with anything 3D in the RB or automotive world, please contact me. :-)
 
A few people have already asked and I'd be interested to find out also, what frame rates were used for the super slow motion shots? Those shots in particular looked fantastic and I'm guessing you still need to go to at least 1000FPS to get that look on the tight shots.
Cheers
 
Rob Parkin said:
A few people have already asked and I'd be interested to find out also, what frame rates were used for the super slow motion shots? Those shots in particular looked fantastic and I'm guessing you still need to go to at least 1000FPS to get that look on the tight shots.
Cheers
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Yes you are correct the slow mo donut shots were shot in the 1000 fps range on the Phantom Flex. Nick Schrunk absolutely nailed those shots. He is a great shooter as is Milan Spasic who was shooting on Epic. With guys like that on the crew it's easy to get amazing results.
Mike
 
Lovely stuff! It reminds me how exciting it was seeing Frankeheimer's "Grand Prix" in the sixties in Cinerama 70mm. I like to think a modern equivalent could be made on the Epic for Imax perhaps.
 
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