Shot on WEAPON DRAGON: Taylor Swift’s “Bad Blood”

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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.

 

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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.

 

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Who’s at the wheel? Taylor or Kendrick? NEITHER! Because equality! #selfdrivingcars #feministfuturecar (?)

 

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.

 

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In “Bad Blood,” Probst incorporates the preexisting practicals into his design, creating a sense of deep space in each set.

 

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The bulldog brings it all together, really.

 

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.

 

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Behind the scenes: the Weapon fully built on the set of “Bad Blood”

 

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.

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In the words of our very own Adam  Bricker, “it’s a game changer.”           …a game changer you guys.

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.

 

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Shot on EPIC M-X: “Dog Food”

Shot on RED Epic M-X + RED Scarlet M-X + Super Baltar Prime Lenses. Dog Food, written and directed by Brian Crano, premiered at the 2014 South by Southwest Film Festival.  The short film was released this week as a Vimeo Staff Pick. Watch it out here:

Produced by 3GR Featured-Filmmakers Michael Scott Klein and Max Hurwitz. Shot by 3GR’s Adam Bricker. Lit by Gaffer and 3GR Featured-Filmmaker Zack Savitz and Key Grip Drew Verderame. Camera Operated by Tim Naylor and 3GR Featured-Filmmaker Raul B. Fernandez. Focus Pulled by 3GR’s Charlie Panian and Margaux Hallenstein Bricout. Color by Damian McDonnell at Technicolor Hollywood.

New Gear: RED Motion Mount

We’ve added the new DSMC RED Motion Mount Titanium PL to our rental inventory.

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The mount provides 8-stops of Variable Neutral Density. The mount also behaves like a Global Shutter, creating images with more filmic motion blur. Here’s the description from RED:

The RED MOTION MOUNT® Ti PL pushes the limits of what is possible under virtually any motion capture scenario. It’s a finely tunable neutral density filter over a wide range of stops. It’s a global shutter that prevents partial illumination with strobes and shearing with fast subjects. It’s a time filter that renders sharper yet smoother pans, artifact-free cyclical motion, more natural motion blur, and reduced or eliminated flicker with lights and electronic displays. Most importantly, all of this can be achieved using a drop-in titanium lens mount that preserves your existing camera and workflow.

VARIABLE ND

The RED MOTION MOUNT integrates an intelligent neutral density (ND) system into its design, allowing you to electronically adjust your ND levels for precise exposure. Through the on-screen controls of your EPIC or SCARLET, you can finely adjust your ND opacity up to 2.4 ND, instead of having to interchange work around the predetermined values of ND glass filters. This technology encourages you to work faster and lighter by reducing the need to overload your matte box.

GLOBAL SHUTTER

The RED MOTION MOUNT also has a mode that behaves like a global shutter. When working with strobes or fast subjects, this mode reduces partial exposure issues and provides more consistent illumination for every frame. Skewed and smeared artifacts become imperceptible as the REDMOTION MOUNT fundamentally changes the way your camera captures light.

SOFT SHUTTER FILTER

Cleaner pans, less cyclical motion artifacts, and no flicker – that’s what you can expect from your image with a RED MOTION MOUNT. The built-in time filter system eliminates many of the troubles associated with traditional motion cameras and elevates the quality of all of your imagery. With more natural motion blur and no more flickering displays or lights, the RED MOTIONMOUNT brings your digital image closer to human eyesight than ever before.

Shot on EPIC M-X: “Fishing Without Nets” Released Online

20th Century Fox has released Fishing Without Nets, which first premiered at the Sundance Film Festival, online on all major digital platforms, including  iTunes, Google Play and Amazon

Shot by 3GR Featured Filmmaker Alex Diesnhof on RED Epic + RED Scarlet w/ Zeiss Super Speeds and Angenieux Optimo DP Zooms. Read more about how Alex shot the film on IndieWire.

Shot on EPIC M-X: Disenhof talks “Fishing Without Nets”

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Fishing Without Nets has played at the 2014 Sundance Film Festival to rave reviews (Variety, Hollywood Reporter, Grantland). The film was shot by 3GR featured-filmmaker Alex Disenhof on RED Epic + RED Scarlet w/ Angenieux Optimo DP Zooms and Zeiss Super Speeds. Disenhof discussed the filming process with IndieWire as part of the “How I Shot That” series.

Which camera and lens did you use? We used the Red Epic and Red Scarlett cameras with Zeiss Super Speeds and Angenieux Optimo DP 16-42mm, and 30-80mm zooms.

What was the most difficult shot in your movie, and how did you pull it off? We had many difficult shots, as we often did ten minute long handheld takes looking 360 degrees. Possibly the most difficult of all was shooting handheld on a rickety wooden boat deep out at sea. I had to follow several ‘pirates’ as they grabbed their weapons and jumped overboard into small skiffs. We were almost 30 miles out in a very rough Indian Ocean, so it was extremely difficult to stay upright, especially with a camera on my shoulder. I was able to get all the angles I needed, bouncing off my gaffer and key grip as they pushed me one way and another to keep me on my feet as the boat swayed heavily from side to side. Additionally, my key grip had a body harness attached to me and tied me to the mast of the ship so that I wouldn’t fall overboard! It was like shooting on a roller-coaster that never stopped!

Who is your favorite cinematographer, and why? I have so many! If I had to name one, recently, I’ve really enjoyed the work of Sean Bobbitt, BSC. His handheld camerawork and simple, straightforward approach to lighting is something I really admire. Every movie he does is an immersive, textured and energetic visual experience.

What’s the best film school for an aspiring cinematographer? Working on set is the best film school! I went to Emerson College and thoroughly enjoyed my experience there, but the best way to learn cinematography is to shoot and watch other cinematographers shoot. Have an open mind, don’t be afraid to admit you don’t know something and always try something new.

Do you think the shift from digital is good or bad? I think the shift from film to digital isn’t good or bad – it just is what it is, and it isn’t going to stop. I’ll use either when it is appropriate, and I enjoy shooting both for very different reasons. I think digital is a great tool, and should be treated as that – another tool in a filmmaker’s tool belt.

What advice do you have for cinematographers who want to get to Sundance? Seek out projects you believe in and find good collaborators. I wouldn’t be at Sundance if it weren’t for the people I worked with to make this project happen!

What’s the best career advice you received? First and foremost: it’s not a race. Enjoy the whole journey and be proud of yourself even when things aren’t going your way. Not everybody has the courage to follow their dreams.