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.
“Every 90s TV Commercial Ever” shot on RED EPIC DRAGON by DP Jon Salmon for Director Dez Dolly & RocketJump. The video is nearing 4 million views! For more, read this interview with Dez on Vice and watch this behind-the-scenes feature: