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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 :)

Dion Beebe, ASC & Ford tap the Red Ninjas for theatrical commercial

Evin Grant

Evin Grant

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Client: Ford Motor CO.
Project: Theatrical commercial (Shown in theaters ahead of the movie)
Prod. Co.: Spy Films
Market: Canada & France
Director: Javier Aguilera
Director of Photography: Dion Beebe, ASC
Second Unit DP/B Cam Op.: Evin Grant
Redninjas: Blair S. Paulsen & Brook Willard

This has (and still is) an amazing shoot, the hours have been brutal but Dion is a genius. He deserves all the praise and it's obvious why he has an Oscar. I'm truly in awe. I can't reveal much about the actual commercial or show footy yet but here are some stills from the shoot.

ford2.jpg

I was operating the Wescam gyro helicopter mount from Pictorvision the first day. I used a cheap air bulb powered still camera release to run the camera.

ford1.jpg

The top rails came in very handy mounting the rain deflector upside down for use on the Scorpio head.

ford4.jpg

This is the Pursuit Arm (Porsche), not to be confused with the Ultimate Arm (Mecedes). Bitchen rig with the 1st AC & Driver in the front, Dion and Javier (Director) in the back and the Crane Op in the cargo area.

ford3.jpg

Top: Dion operating A Cam and myself on B Cam.
Middle left: The gentelman on the left is Key Grip Steve Cardellini, you might have used some of his great clamps.
Right: Blair S. Paulsen checking exposure.
Bottom:Even Dion's filter case is impressive.

Tomorrows the last shoot day, I'll give a final account then.
E.
 
Man, those are some great toys. Was that Ultimate Arm the
same one used in "Wanted"?
Kind of ironic to use a Porsche and Mercedes to shoot a Ford spot!!
 
Is it legal to have so much fun? :shifty:

Thanks for reporting!
 
Good lord that is cool. I'm interested how the RED got chosen for this spot over 35mm. Or how the Agency was convinced, rather.

Can you shed any light on what filters were being used from that case and for what end? :shiftyph34r:

I know Conrad Hall used lots of ND grads on the car commercials he shot.

Set photos are king. :w00t:
 
Very cool! It would be interesting to hear Beebe's thoughts on the RED having shot Miami Vice on the Viper... Of course I think we all know what the gist of it would be. :)
 
UMMM that remote start is INSANE!!!! Your a ballsy man to trust that in a copter shoot. How'd it work? Didn't feel like soldering up a cable?
 
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Mike Prevette said:
UMMM that remote start is INSANE!!!! Your a ballsy man to trust that in a copter shoot. How'd it work? Didn't feel like soldering up a cable?
Click to expand...

There are exactly 7 of those cables in existance, Lemo would take over a week to get me the correct pins and Jarred warned me about messsing up the soldering, if I did, by by Red one and it's NOT covered under warranty.

That being said the photo bulb solution works so well and so reliably I'm going to keep one in the kit from now on incase something gets screwed up and I can't get the electronics to fire. BTW we are using it on the pusuit arm as well:bleh:
 
I'm interested how the RED got chosen for this spot over 35mm. Or how the Agency was convinced, rather.
Click to expand...

When the producer for this project contacted me it seemed like he was already pretty much set on using RED. I gave him the basics on workflow and format options, but we brought Evin in to do the detailed explanation.

I think they wanted something that would look amazing when transfered to 35mm.
 
The bulb release start/stop cable is freakin' sweet. As silly as it seems at first, it definitely works. Even after cables become more widely available, it'll definitely still be something to keep in the kit "just in case".
 
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