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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 :)

Hyundai Spot shot in New Zealand... Epics w/ Motion Mount

Christopher Probst

Christopher Probst

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Some of you may have seen the shot I posted from my shoot in Queenstown, NZ showing the Motion Mount in action...

Here is the complete spot.

 
Nicely done!

Graeme
 
Everytime you post a new spot I look up to you more...

Well done, great looking commercial.
 
Looks very nice overall. Id be interested to know your view on motion mount.
 
I love Bruce Spence and this commercial rocks!!! I laughed out loud, thanks for sharing this, great work!
 
Gorgeous stuff there. Would love to hear the light and filter setup on the old creepy guy. Love the look there too. Nice grade.
 
Good lord that was well done :)
 
Finally got home to watch this. Real nice work. Love that subtle flare coming in on the close up on the direction giver. Such a great and expressive face.
 
Thanks Phil, this shoot was plagued with dreary, constantly changing weather. While that wasn't the end of the world for the "old road" sequences/shots, it did annoy the living daylights out of me for the spot's opening and "new" road scenes... We even had to flip a day's schedule on the fly and pack up and move an hour to a separate location on the gamble that the sun would pop out at the location we were currently getting rained on, LATER... The new road shot had 2 small breaks in the rain for about 20 minutes each... We were able to get running footage there (as a backup if the client changed their minds and wanted "happy" looking footage) as well as that one brief moment where the sun parted the skies with god-like shafts of light for our "new road" as it appears in the commercial. Cinematographers often have to don the hat of meteorologist as well as fortune teller with locations and weather. Experience and a good gut in how you can still get your shots are invaluable here. I KNEW I could shoot the forest shots even in a downpour... the canopy from the trees would subdue the rain a lot, and I wanted the skies to be dark in the background anyway... Sure as shit, day 1 on the production was flash flood conditions. The light in the forest was about just on the brink of being unusable for my lighting design. But that also helped to make our lightning strikes units read even brighter. Still, losing the stop from the motion mount made that scene a little nerve racking... AND the director wanted to shoot it at 50fps... We scraped by and got the shots on schedule, even with the ground turning into a mud wrestling pen.

The opening bed and breakfast location was supposed to be our ONE sunny half-a-day... but that too was overcast and dreary. Again, I had to make a call and shoot the wide in what I hoped would be the optimal light. The closer work I knew I could enhance with lighting... as Phil commented on... but while we were shooting the hatch shot, the sun DID come out completely... I was desperately going to try to pop back and shoot another wide shot, but we couldn't afford the time since we also had to company move to get all of our aerial work that day, and the weather forecast was getting worse and worse.

All of the aerial footage was shot in either misty fog, or full-on drizzle. Not ideal conditions to fly in... AND we were flying quite low and dangerously through canyons and gorges to get the shots we wanted. We also had to land several times as the rain deflector kept fogging up, but we ultimately got the shots we needed. And they are in the spot. I will say that I desperately try to STAY OUT of helicopters as much as I can. But there were no aerial operators on the shoot, so up I went and pulled my own focus too. Good thing I was an AC in a former life!

On to the next one...
 
Thanks to share this clip and all the insights, Christopher.
I´m very impressed how this very funny story and your visual work come together. Great work!!! You are another great artist on this board- like David Mullen, Mark Toia, Tom Lowe...- who invites us to have a deeper look into his developing career.
Marc
 
is that skippers canyon? if So, I've shot there as well, in miserable conditions...I guess this is the welcoming that NZ offers..:-)

Really lovely work, movement and grade..well done
 
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