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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