Without getting too carried away… here’s another Chris Probst / Peter Khan “Film” shot on Weapon.
The drama. The giraffes. The zebra herd from above. The male love interest lip syncing to Swift’s plaintive crooning. The colonialist-era hollywood glamour (um…?) The romantic flight above the stampede. The glitter and pain of the meta-film premiere.
But most impressively: the LION. THE LION YOU GUYS. DON’T MISS THE LION.
There are indeed some pretty stunning shots of Saharan plains, waterfalls, and sunsets – all of which the weapon captures with a dynamic range that is legit cray. I have to hand it to these guys – they made midday-ish full sun look quite pretty.
My personal favorite images include high speed footage of Tay’s dress being blown by the wind (machine), some of the light-play on and through clouds and bodies of water, and any shot that includes Swift with animals – especially this lion.
The lion is the star of the video, I’m sorry. In this shot he’s even lip syncing along too.
Ok, maybe just roaring, but there’s really no way to tell for sure, now is there.
Tonight! Get ready to settle in with a bag of peanuts and a hot dog to watch the premiere of HBO’s “Ferrel Takes The Field,” tonight at 10/9c – that’s 7pm for us here on the west coast.
Ferrell actually takes not one, but five fields in this docu/mockumentary. His quest is to play ten different baseball positions on ten Major League Baseball teams during five spring training games. The stunt is a nod to Burt “Campy” Campaneris – a legendary player who once played all positions in a single game exactly 50 years ago. Ferrell faces this “challenge” with his trademarked stone-faced dry humor – always playing the clown playing the guy doing the thing.
But in this instance, the very real rock-hard baseballs often whiz by him at an impressive and potentially dangerous clip. The suggestion of possible danger brings some suspense to the show – between musings on the road and dugout temper tantrums.
Watch “Ferrell Takes the Field” tonight at 7pm on the west coast, 9pm central, and 10pm out east.
For a sneak preview – Watch Ferrell get fitted for a cup!
We’re excited to announce that we’ve added an OConnor 2560 to our rental inventory. The newest fluid head from Oconnor, the 2560 weighs in at only 16.2 pounds, almost 7 pounds lighter than the 2065, while maintaining a similar payload. It’s well suited, safe and stable to a “maxed-out” Red Dragon or Scarlet in studio configuration.
A great mid-level head, the 2560 includes all the trademark OConnor features we know and love, with the benefit of the most advanced technology in lightweight materials and compact engineering available. Just like its larger counterpart, the 2575, the 2560 boasts sinusoidal counterbalance, fluid drag, and the ergonomic design for ease of use that all feel familiar and intuitive.
OConnor 60L Tripod: Light weight – Heavy Capacity
When the 2560 is paired with our new OConnor 60L carbon fiber tripod, your complete support weighs about 25 pounds total. The 60L, at about 9 pounds, is ideal for quick adjustments and re-positioning. The double extension design provides a maximum height of about 60 inches while still safely supporting a payload of up to 209 pounds.
A quick clamping system, mid-level spreader and 150mm bowl allow for quick and stable leveling and operation. Its rubber feet are removable, revealing spikes for secure use on any terrain. The tripod packs down to about 30 inches for easy travel as well.
Our 2560 is available with a 150mm ball head, compatible with our 60L, or can be fitted with a Mitchell base if necessary to suit your needs.
New Gear at 3GR: Rent the Oconnor 2560 Ultimate Fluid Head and Oconnor 60L carbon fiber tripod from our shop.
Taylor Swift’s “Bad Blood” took home the award for “Video of the Year” at the VMAs last night. The video also won for “Best Collaboration,” a nod to the unlikely and entertaining pairing of Swift and Kendrick Lamar. The two are joined by a long list of lady celebs who wield some impressive weaponry of their own.
Shot by Chris Probst on the new Weapon Dragon, the video also snagged a VMA nomination for Best Cinematography.
Here at 3GR, we’re pumped to see some of the first footage from the Weapon get some love. We’ll be adding both the Carbon Fiber and Magnesium models to our rental inventory soon. Check out our rate sheet for a detailed description of the package and watch this space for announcements!
“Bad Blood” depicts a girl-on-girl rivalry, with Swift and her posse training and preparing to kick some beautiful model/actress/pop-star butt. (Rumored to be Katy Perry, but let’s let Swift’s Rolling Stone interview speak for itself.)
The gang includes buds Selena Gomez, Ellie Goulding, Jessica Alba, Karlie Kloss, the legendary Cindy Crawford and many others. Even Lena Dunham makes an appearance, smoking a cigar like a boss.
Shot on two shiny new Weapon Dragons, fresh from Red, “Bad Blood” exhibits the camera’s capabilities with some dynamic looks. The video takes us through a veritable catalog of action and sci-fi styles – from a sterile Fifth Element-esque lab to a sweet self-driving see-through future car.
Multiple setups were shot in an underground parking structure below the LA Convention Center – a location Probst had used for a previous project – a Lexus Superbowl commercial (shot on Red, of course) with stylized Flavin-like lighting accents – providing a challenge to attempt to give the same space a different look.
In “Bad Blood,” Probst incorporates the preexisting practicals into his design, creating a sense of deep space in each set.
A separate location was used for the locker room scene, layering with more traditional arches as part of the OG brick structure in the background.
Probst primarily used Arri Zeiss Master Anamorphics for the video, with the exception of a few shots on the Ronin that called for the lighter Kowa Anamorphics. Most footage was shot with the Low-Light OLPF, the skin-tone OLPF only used for the day exteriors.
The Weapon shoots up to 100 frames at 6k – a particularly valuable feature in effects-heavy videos like this one. Probst also used the Phantom Flex 4K for extremely high-speed shots in this video.
With the capacity to create such large hi-res R3D files, the Weapon’s novel ability to simultaneously record Apple ProRes files is a particularly valuable.
The Magnesium brain can record up to 2k Prores, with the Carbon Fiber model recording up to 4k and up to 120 frames in various compression formats.
Some other exciting new features include a faster, easier way to swap OLPFs, auto blackshade calibration, all-around improved low-light performance, and a built-in microphone and speakers for easy scratch track recording and playback.
With the Weapon brain weighing in at about 3.3 pounds as opposed to the 5 pound Epic and Scarlet bodies, the difference is significant. The smaller size requires for smaller mounting accessories as well. An all-around, more compact package, including many new wireless functions, makes shooting with a Ronin, MoVi or drone much more comfortable and controllable.
I wouldn’t hate it on a long day of handheld operating either.
We’d love to hear from you. Feel free to leave any questions or comments below.
Vittorio Storaro is the latest addition to an impressive list of prestigious DPs Woody Allen has teamed up with throughout his career. Shooting begins this month in Los Angeles and New York on the 1930’s period piece, set to premiere in 2016.
Gordon Willis, Sven Nykvist, Harry Savides, Vilmos Zsigmond and Darius Khondji have each had a hand in the look of Woody Allen’s films throughout his career. Willis, often called the “Prince of darkness,” helped the prince of dark neurotic comedy establish his look – he shot eight of Allen’s most iconic films, including Annie Hall (1977), Manhattan (1979) and Stardust Memories (1980).
Allen’s most recent project with Khondji, Irrational Man, is still playing at a theater near you, and the rumors of his next release are already a’buzzin. The film boasts an all-star cast befitting its ensemble director.
Known for his striking use of color, Vittorio Storaro has lensed many visually stunning films for some pretty stellar directors. Francis Ford Coppola‘s Apocalypse Now (1979) influenced a generation of aspiring DPs and earned Storaro his first Academy Award for Cinematography.
Numerous collaborations with Bernardo Bertolucci (The Last Tango in Paris (1972), The Conformist (1970), The Sheltering Sky (1990), The Last Emperor (1987) – Oscar number 3!) showcase Storaro’s signature style of visual storytelling.
A champion for the universality of light and color, Storaro is known for assigning a look or a hue a particular emotive motif, utilizing the visual throughout a film’s story arc.
Storaro’s work often exemplifies the storytelling role cinematography itself can play in cinema. Don’t we all know someone who caught the cinematography bug after watching something he shot? The guy even has a set of Rosco Gels named after him.
So what will a Storaro/Allen collabo look like?
Is it likely that the upcoming film will receive such careful aesthetic consideration?
This will be the first time the two collaborate as Director/DP, but they have worked together once before. Woody Allen starred in Alfonso Arau’s Picking Up The Pieces (2000), which Storaro shot.
In the dark comedy, (which technically looks fine/unremarkable) Woody Allen plays a butcher who kills and dismembers his cheating wife, confessing his crimes to the local priest (David Schwimmer). Hijinks ensue.
Shocker – the movie was panned! Variety called it “a tawdry misfire of the lowest order…” ouch… Needless to say, it was something of a departure from Storaro’s usual arty fare.
Maybe the two bonded on set and came up with some fabulous idea that’s been 15 years in the making. Maybe Storaro has been concocting a whole new set of gels for comedy. Who knows. We can’t wait to see some images from the new project, and welcome any tips from those in the know.
Watch this space for updates – and in the meantime, check out Woody Allen’s earlier films shot by some of the most talented cinematographers out there (along with the dearly departed – RIP guys. We’ll always turn off one more light for you just when we think it’s dark enough.) And treat your eyeballs to some Storaro classico…
…or just make yourself some popcorn, get your nerd on and re-watch Visions of Light. No judgement.
Updated Rate Sheet available for download here.
3GR + Bear & Co. recently added an Easyrig Vario 5 to our rental inventory. The Easyrig Vario 5 has an adjustable weight range from 11-38 lbs. The user can fine-tune the tension and strength of the line by turning an adjustment screw on the back of the rig.
New trailer for The Martian. Directed by Ridley Scott. Shot on RED EPIC DRAGON + Angenieux Optimo Zoom Lenses by cinematographer Dariusz Wolski. The film, which is slated to be released on November 25th in 3D, stars Matt Damon, Jessica Chastain, Kristen Wiig, Jeff Daniels, Michael Peña, Kate Mara, and Sean Bean.
Shot on RED EPIC DRAGON + Kowa Anamorphic. Directed and shot by 3GR featured filmmaker Raúl B Fernández for Lipton Ice Tea. Additional photography by 3GR featured filmmaker DP Lance Kuhns. Camera assisted by 1st AC’s Cate Smierciak and Ryan Guzdzial.
Gorgeous commercial spots for Apple Watch shot by cinematographer Wally Pfister on RED EPIC DRAGON.
Chef’s Table, a Netflix original six-part docu-series, premiered this weekend on Netflix in 4K. Created by David Gelb (Jiro Dreams of Sushi) and directed by Gelb, Clay Jeter, Brian McGinn, and Andrew Fried. Shot on 3GR’s RED EPIC DRAGON w/ Cooke S4s and Angenieux Optimos by DP Will Basanta (Dan Barber / Blue Hill Restaurant […]
Check out this short “POWER/RANGERS” fan film from director Joseph Kahn. Shot on RED EPIC DRAGON by cinematographer, and Kahn’s longtime collaborator Christopher Probst. For more, here’s on an interview w/ Kahn via HitFix.
“Straight Outta Compton” Shot on RED EPIC DRAGON by cinematographer Matthew Libatique. Directed by F. Gary Gray.
“We Are Still Here”, shot on RED EPIC DRAGON by DP Karim Hussain, will premiere at South by Southwest as part of the festival’s Midnighters program. Written and Directed by Ted Geoghegan. Produced by Travis Stevens. More on Deadline Hollywood.