“This is B.S.!” shouts Steven Best as we arrive on the set of Best/Spectacular, the eponymous series about a Web marketing and content agency rolling with the punches in the New Media age.
As fans drive Mouse McCoy’s BMW M3 spec past 400,000 views on YouTube alone, Jacob Rosenberg, Director & CTO of Bandito Brothers, offers some technical insight into the creation of "Living in the Lights":
"Mouse got excited about shooting video with DSLR cameras about a year ago, however the technology wasn’t quite there. Ever since we made Dust to Glory together we haven’t been too intimidated by fixing or solving problems in post. When the 5D finally hit, we saw it as a game changer, specifically for the immersive feel that we wanted to capture in the Navy SEAL feature film we were developing and about to start shooting. The DP who is now shooting our SEALs film, Shane Hurlbut, collided with Bandito to do a viral campaign for Terminator Salvation which we shot entirely on the 5D and posted at Bandito. Shane has been pretty fearless about using the 5D and worked with Panavision to develop some awesome rigs to shoot unique shots. This initial project showed us what could be done and as we started to look at the material, its quality and our process… it started opening our eyes wider.
We had done a small commercial for BMW out at a test track and Mouse subsequently got inspired to shoot a short film about his own BMW M3 using only DSLR cameras. He wanted to do it quickly and efficiently, which the body of a still photography accommodates. Mouse was getting busy on the Navy film, however we worked with Sumer Friedrich (Producer) and Vic Huber (Photographer) and set the shoot up so that Mouse came back for a weekend and knocked it out. Given the mobility and flexibility of the cameras, we did do a few pick up shoots to grab some other angles, but the gist of the piece was shot in that first weekend. The spot and short film were edited by Steve Prestemon who is a good friend of Mouse’s and an accomplished tier one car editor, Steve would cut from home and our Assistant Editor Siobhan Prior would relink his cut to media at Bandito.
From a shooting stand point we had the clear realization that we could actually do this in available light and process everything here at Bandito. We were shooting 5K stills and 1080p (30) HD, so our job in post was to combine those and make the pieces as dynamic as possible. I don’t want to give away too much about how we shot each of the shots, but suffice to say the only effects or cg work that was done, was paint clear up and some image pan/zooms. Having the 5K still image sequence canvas was great because it gave us room and resolution to move. Mike McCarthy who has his own site, hd4pc.com started as my intern and turned into a post architect for us to help us solve technical problems and typical obstacles within complicated workflows, so we all put our heads together and figured the most efficient way to get the project done.
I have been a consultant for Adobe’s video products for years and we used CS4 tools like After Effects and Premiere Pro to conform and finish the project.
Our process went something like this:
Shoot 1080p (30) Canon video and import the MOV files into the Avid at 23.976 (removing frames).
Shoot 5K stills and process as 1080p (23.976) video and import them into the Avid at 23.976.
[We used CineForm as our intermediate codec]
Once the edit was completed and we knew the shots that were in the edit with Twixtor’d (RE:VisionFX Plug-In for After Effects) the Canon files from 30P to 23.976 and assembled them into the online for color correction.
As for the 5K stills, we opened the source compositions of the sequences used in the edit and started to work on clean-up and the moves, this was a ton of heavy lifting done by Lance Holte and Brett Novak at Bandito. These moves and compositions were then exported into CineForm files and integrated into the same online as the other material.
We then took the cut and Andrew Huebscher colored it in SpeedGrade DI on our color correction system here at Bandito.
From start to finish it is an all digital project and workflow that takes advantage of where technology has led us and along the way we solved some problems and gained some insight into how to better deal with the Canon files and maximize using new cameras and technology to achieve a new vision.
Mouse told me that he saw this project and his short film as a 21st century pin-up poster. He had nine of those "hot babe in front of a hot car" posters in his room as a kid and using a DSLR camera and all the post tool that we have, he created a "poster" that he thought other kids would want to have on their wall, or in this case, watch on their computer.
Having gotten through a few of these projects now and being neck deep in 5D footage for our Navy film, I ended up directing a commercial with a meager budget that required high quality. I quickly grabbed a 5D with some excellent glass (swing/tilt) and shot a commercial for a client in Dubai that looked gorgeous, so the proof is always in the pudding and hopefully the pudding tastes good."
Consider this spec for the BMW M3 the ultimate in high-end user-generated content. Inspired by his affection for his own M3, creator/director Mouse McCoy wanted to play out this car fantasy, combining adrenaline-pumping and arresting visuals in a film that doesn’t take itself too seriously. Not only does this work capture the feeling Mouse describes as "Living in the Lights," it’s a perfect example of what Bandito’s Garage - Bandito Brothers‘ one-stop automotive production shop – can do in-camera, with a few people, a lot of passion, and no barriers. This home-made print and broadcast campaign is arguably competitive with work attempted on a much larger scale, with less spectacular results, and at far greater cost.
BMW "Living in the Lights" Production: Bandito’s Garage Creator/Director: Mouse McCoy Director of Photography: Vic Huber Editor: Steve Prestemon Producer: Sumer Friedrichs
The Car: BMW M3 The Driver: Greg Tracy The Girl: Niki Huey
Conceived, directed and animated by Ethan Marak (and produced by Buddy System Studios), this new spec spot for Guitar Hero On Tour (Nintendo DS) really jumped out at us. It’s clever, fun, and really well-executed. We look forward to seeing more from Mr. Marak…
"Gunfighters," from director Scott Betty, suggests that a gunfight may not come down to the fastest draw – but the cleanest lungs. The spot is a top five finalist in the California Department of Health’s "Beareelhero" contest, and is expected to air soon.
"Gunfighters" Executive Producer/CopyWriter/Director: Scott Betty Producer: Nancy Wong DP: Peter Thomas Production Designer: Chris Forsberg Post Production: Zen Film Editor: Ross Wells Colorist: Chris Martin, Spy Post Talent: Michael Ray Wisely, Malcolm Brownson Voice Over: Ross Wells
Producer Steve Reiss from Sea Level sent us this new spec, which shows how Toyota’s Prius hybrid turns the table on pollution. The ad was directed by Michael Moretti via Spotlab.
As an aside, we think it’s great that so many people are experimenting with green brands and products. Now, where’s the spec spot for The Hempest?
Client: Toyota Prius Spot Title: "Unlitter"
Agency: Saatchi & Saatchi, Los Angeles Copywriter: Mark Tripp Art Director: Jeni Stewart
Director: Michael Moretti DP: Graham Futerfas
Vfx & finishing: Sea Level VFX Lead Flame Artist: Christopher Noellert Executive Producer: Steve Reiss
Ab5trax blew us away with this inventive, entertaining spec spot, which chronicles the extraterrestrial origins of the Toyota Prius.
"Hello George" uses awesome effects to take you on an outer space journey that will leave you exhilarated – and impressed by what can be accomplished when a limited budget meets unlimited imagination.
Production Company: Ab5trax Director/Writer: Ryan Apuy Executive Producer: Hunter Woo Graphics: Ab5trax
Director Troy LaFaye sent in this advertising experiment, which offers that rare glimpse into the life of the lonely ninja.
While it parodies the popular "Save The Children Foundation" PSA, this spec has its merits: Winner of the Best Film of Minneapolis Film Race 2008, "Why Should You Care?" was produced by students and faculty of the Minnesota School of Business Digital Video & Media Production program. So, in the end, our youth has the last laugh.
Credits:
Director: Troy LaFaye Producer: Jon Otto Videographer: Skylar O’Flaherty Editor: Jon Otto, Mike Cunniff, Troy LaFaye Graphics: David Combs Written by: David Combs, Mike Cunniff, Troy LaFaye, Geoff Lenort, Sky O’Flaherty, Jon Otto, Spencer Peter Starring: Spencer Peter, Stephanie Chan, Luke Moran, Jon Otto, Mike Cunniff, David Combs, Manda Sisco, Troy LaFaye Narrated by: Adam Windemir
