This was shot over two days with two Modula Bases with Ulti-Heads set up in separate stages next door to each other. 18 sets were dressed and shot over the two days. The moco rig was used for the same speed into each set with a fast zoom at the end. This was all shot on the RED Epic.
The Talos was used for this commercial, ideal for the location shooting required. The rig was used to shoot the bus stop, car park and café. The café was very small and tight to get into. As the Talos can fit through a normal doorway, it had no problem getting in and shooting the multiple passes required.
"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."
Commercial shot using a TALOS for soft drink Powerade. The main talent had very limited time to shoot this commercial and was not available to be shot actually on the track. The first part of this shoot was done on a second floor in an office building (the Talos fitting into the passenger elevator) and in 2 hours the shoot was done with the main talent in and out. We then separately shot the running track and the two shots were composited together to make it seem as if Jessica was shot on the running track, when in fact she was never there.
The Sandman and the Lost Sand of Dreams was produced by Scopas Medien. From the outset it was clear that the five-month principal photography was going to be tight, efficiency and creative solutions to keep both deadlines and quality were top priorities. The Animoko was perfect not only because it was compact enough to fit in the small units and easy to program but also allowed for all the more complex functions of Flair like spatially offsetting/scaling moves which were even used mid-shot to compensate for overnight set shifts. The 3D import functions were used on the opening shot, a 45sec camera move flying over a landscape of clouds. The move was created in 3D as one move and then cut into three pieces. The three parts were dressed and shot using the Animoko rig in the same unit consecutively and put together as one seamless shot.