"Never thought a Milo would be on the catwalk at a fashion show? Think again! Gainsbury & Whiting came up with the idea of incorporating motion control in the live Paris runway show of Fashion Designer Alexander McQueen. Two identical Milos both on 50 foot of track were positioned on stage capturing the models in their 12 inch high shoes as they paraded the catwalk. Not only were the Milos being used to capture footage, they were a key element to the show itself - with the opening featuring just the rigs on stage moving under spotlights. The show was live in front of the world’s press, fashion designers and celebrities and was also simultaneously broadcast worldwide via the web. The 17 minute broadcast went off like clockwork.
"Working with Stink UK and Director Adam Berg, Let's Colour was shot over five weeks and took us to four continents. The shoot started in Lapa, Rio de Janeiro, Brazil and ended in Jodhpur, Rajasthan, India with a couple of days in Paris and London in between. In Rio and Jodhpur Stink UK required a light weight system with pan tilt and tracking of up to 30m that could be checked in as luggage and flown to these locations with the crew. We customed a rig with the Ulti-Head on track with a belt system that would allow the rig to run on standard dolly rail. In Paris and London the Talos was used with 21m of track. For fill in and multiple viewpoints we used the SFH-30 with DSLR cameras.
Most of the shooting was done using ten or twenty second exposures shooting preplanned moves, with the Arri 435. For the variable speed moves we ramped the camera using the features in Flair from these low frame rates up to 25 fps as part of the move."
Shot at the Bullring Birmingham shopping centre, the Modula on track with lift was used with a Canon 5D to capture time lapse moves from various positions inside and outside the shopping centre. The same move was then run at normal speed for shooting the foreground action.
"The location for the shoot was Buenos Aires, Argentina. The commercial was shot on film with an Arri 435. Three days were spent on location shooting TV monitors with blue screens that had been installed around the city, in parks, bus stops, outside shops, on sidewalks, etc. Three days were then spent in the studio shooting the content for the TVs.
Ian Menzies said, “We took the moves shot on location and repeated these for the TV content. In some cases the move had to be scaled, for example the popcorn shot. After shooting a long track shot at the location, we then shot the popcorn for the content of the TV. The popcorn was in a small box, so we scaled the move down 12 times to make it look large on screen and then shot it fast at 125 FPS to slow it down on screen”
The motion control rig for the job was the Talos, quick to set up for the location shooting and ideal for the required studio shooting. MRMC Mimic Pan Bars were used by the DP to control the pan and tilt of the camera and give the shots the handheld feel they wanted to achieve."