A commercial with a little twist…
As the Miami Heat have just cliched the NBA Finals in Game 7 at home, I thought it would be a good time to share a promo spot you might have seen in between time outs on TV. Here’s a little promo spot I shot for a good friend and wonderful director Loni Peristere of Bandito Brothers for a TNT Promo… I won’t say more until you watch the spot first…
Falling Skies Promo from Vincent Laforet on Vimeo.
Fun little twist and all was shot with the RED Epic at 5K w/ a 4K 16:9 crop to give VFX a little more wiggle room for repo etc. to work with in post, a wonderful crew and cast and Zeiss CP.2 Lenses – the 15mm T/2.9, 21mm T/2.9, 35mm T1.5 Super Speed, 50mm T1.5 Super Speed, the 50mm Makro, 85mm T/1.5Super Speed, shot almost all at T/2 to T/2.8 at 48fps. The last shot is made with the Canon 24mm Tilt Shift lens… being able to shoot from PL mounts to EF mounts is a HUGE advantage these days as it allowed me to figure out the last shot of the spot without needed a tremendous amount of light to get a deep aperture and depth of field not to mention the Canon 100mm MACRO with incredible Image Stabilization.
Here’s a peak behind the scenes – if you’d like to see more you can see these and more on my Instagram account.
I recently saw this before a movie. It got quite a reaction from the crowd. Nicely done, all around.
comic sans?
I’m a fan of the serie and from your work, great job!
Ha! Well done. Always had a love/hate relationship with contacts.
As to your previous post, “Thanks” for all you do/share. A lot of folks enjoy your work.
Please excuse my ignorance VL, but what did the tilt shift lens allow you to do that you couldn’t with the Zeiss 21? How would the two images differ?
Vincent Laforet Reply:
June 23rd, 2013 at 3:45 pm
Answered above
Hi Vincent, can you explain the paragraph underneath the bottom photo please? The one where you say the director didn’t want a rack focus from frames to actress…what did he want and how did the tilt-shift help?
Vincent Laforet Reply:
June 23rd, 2013 at 3:45 pm
He didn’t want to change focus at all – and stay on the actor’s performance. Also changing focus would have lengthened the shot’s time on screen… therefore I had two options: bring in a TON of light and melt the set and get F22 – but that likely wouldn’t have been enough depth of field and it would have looked awful… the tilt shift saved me in allow me to shift the focus so you could see the glasses and the actor.
darren lunny Reply:
June 23rd, 2013 at 4:28 pm
@Vincent Laforet, thanks Vincent. And I always thought tile shift lenses uber-isolated objects. You learn something new every day. Cheers, Darren
darren lunny Reply:
June 23rd, 2013 at 4:28 pm
@darren lunny, sorry…TILT shift lenses…
Daniel Reply:
June 26th, 2013 at 6:21 am
@darren lunny, you should rent one. They’re very interesting tools.
The one where you say the director didn’t want a rack focus from frames to actress…what did he want and how did the tilt-shift help?