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The output was always going to be Standard Definition (SD) due to the broadcaster (never ideal), but still we shot mostly at 4K which is great, not only for resolution but also because the lenses are the true sizes i.e. a 10mm is a 10mm.
If you want to shoot at a higher frame rate (slow mo) you need to drop down to 3K which then makes the lens tighter i.e. 10mm is about a 14mm (more or less) and if you go down to 2K you can
push the frame rate up to 120fps, however, when you do this the lens doubles in length i.e 10mm becomes a 20mm.
So when shooting RED you have to weigh up frame rate, resolution and lens size.
Key Grip Rigging the RED on a Bungee
Having the tracking vehicle on this shoot was vital. Robert, my key grip arranged a bungee set-up so the camera could be safely suspended.
I could then sit on the back of the vehicle and use the camera hand held without too much vibration. We shot tracking shots of all the ‘racers’ individually which were then cut together to look as if they were all racing against each other.
For the shot where you see the horse galloping and the camera pulls out to reveal the racing driver in the sports car racing head to head these were actually shot separately and comped together.
Firstly, we shot the racing driver in a static car against green screen (in the desert), then the horse racing from the matching angle which we did from the tracking vehicle.
The two were then comped in post to look like one shot.
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To get the shot where the dirt bike whizzes past the horse and the car, this was also another comp. Ideally, it would be great to shoot this live, but then you would need a stunt supervisor to ensure health and safety and much more time.
Due to the budget this wasn’t possible so we planned for another comp. We used the crane to get as high an angle as possible, we marked out the edges of frame and gave each ‘racer’ a line to travel.
The action was then cut together and the shot was given some movement in post to look more organic and real.
A stylized grade was applied to the promo and a fantastic audio sound design was built to give it some life and energy.
All in all it turned out well, the production team were very happy which in the end is very important.
As a DP you would always change stuff and do things differently, trying to strive for some form of personal perfection.
But hopefully you learned something so next time you approach a similar project you have more experience and knowledge to make things even better and run smoother.
I guess that’s the whole business, as I say ‘Everyday is a School Day!
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