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Our good friend Marco Brambilla has released his latest creation, Anthropocene for Hugo Boss which was just installed at Time Warner Center.
The dynamite team over at the Mill helped with the project had this to say :
'Anthropocene' also features black and white footage of roving, iconic views of Central Park and Columbus Circle, shot using the rare RED Epic Monochrome camera. The Mill's Adam Carboni, Director of Photography, said "We had a bird's-eye view of Central Park from every conceivable angle thanks to the invaluable assistance of the experts at The Central Park Conservancy. They were instrumental in helping us secure optimal vantage points for the shoot."
"Hugo Boss was a colossal undertaking, since we knew we wanted to capture Central Park in a way that had never been seen before," notes Co-Head of 2D, Westley Sarokin. "The RED Epic Monochrome has amazing light sensitivity and allows for extensive color grading. We were able to bring out a very beautiful and almost painterly look to the footage. Using locked-off shots, I rebuilt the geometry of the scenes, buildings, and streets in Flame to create virtual camera moves that brought the scenes to life in a hyperreal way, as many of the camera moves would have been physically impossible to achieve otherwise. Marco was involved every step of the way guiding the creative aesthetic of the project toward its ultimate completion."
The dynamite team over at the Mill helped with the project had this to say :
'Anthropocene' also features black and white footage of roving, iconic views of Central Park and Columbus Circle, shot using the rare RED Epic Monochrome camera. The Mill's Adam Carboni, Director of Photography, said "We had a bird's-eye view of Central Park from every conceivable angle thanks to the invaluable assistance of the experts at The Central Park Conservancy. They were instrumental in helping us secure optimal vantage points for the shoot."
"Hugo Boss was a colossal undertaking, since we knew we wanted to capture Central Park in a way that had never been seen before," notes Co-Head of 2D, Westley Sarokin. "The RED Epic Monochrome has amazing light sensitivity and allows for extensive color grading. We were able to bring out a very beautiful and almost painterly look to the footage. Using locked-off shots, I rebuilt the geometry of the scenes, buildings, and streets in Flame to create virtual camera moves that brought the scenes to life in a hyperreal way, as many of the camera moves would have been physically impossible to achieve otherwise. Marco was involved every step of the way guiding the creative aesthetic of the project toward its ultimate completion."
