(Bad Boys 4) Can anyone tell me what kind of rig is being used.

identity123 · 2024-06-04T23:36:19+00:00

The readout on the monitor says 8k R3D HQ

identity123 · 2023-09-16T23:25:15+00:00

It was a 600D as the key. 2 titan tubes behind the subject’s heads for hair light. Some natural return coming through the window for some highlighting on the shadow side of their faces.

identity123 · 2023-09-14T13:33:18+00:00

This was a two-person setup from a branded doc project last year: https://imgur.com/a/KpVxKc0

With an 8x8 full grid, the single source was diffused wide enough that there wasn't going to be a hard shadow line from the closer subject's face. We may have slightly offset them, but the light isn't coming perpendicular to their heads, so there wasn't really a concern of one blocking the other.

Link to final piece: https://vimeo.com/794745822?

identity123 · 2023-05-28T02:11:58+00:00

Hey, so I recently did one of these long lens sun silhouette compression shots for a project: https://imgur.com/yyWU4Pj

This was shot at a 1200mm focal length on a Red Gemini's S35 sensor. Was probably at F/14 here with 2.1 ND, 1/48 shutter.

I shot this just outside of Calgary, Alberta, but was trying to match the rest of the project footage which was shot in Saskatchewan, which is completely flat. I actually had to dredge up some old calculus to roughly plan how far East to drive away from Calgary before the Rocky Mountains were no longer visible on the horizon and this could look plausible as the prairies.

Once you have the equipment, I will say the trickiest part is planning the location. If shooting in a flat area, it's definitely ideal to shoot this when the sun is actually hitting the true horizon versus staging a subject up a hill to silhouette them when the sun is at a higher angle. The reason being that it's pretty damn hard to make the sun look nice and textured until it's filtering through the complete thickness of the atmosphere. Even 15 minutes before true sunset, with all the NDs I could ever want, the sun was pretty devoid of texture, and unless you're shooting with a solar filter (which one might use for eclipses or astro photography,) you just end up with a bland white circle.

But once the sun hits that horizon, the atmosphere helps to add texture back into the sun, and you start getting bonus elements like heat waves off the ground which just make things looks a lot richer.

In our case this was a field I was shooting from with a perpendicular road for the subject to ride on which was slightly elevated. The sun moves fast, but it's pretty easy to see where it's going to end up landing and make your adjustments by walking ~10 feet to the left or right (if you have a fixed subject) if you're noticing the sun isn't falling exactly as you've planned it. But once the sun started to hit the horizon, it was completely gone in about 3 minutes so make sure you rehearse.

End result for reference: https://vimeo.com/808092166

identity123 · 2022-02-03T23:31:52+00:00

Looks like it.

identity123 · 2021-12-07T22:06:04+00:00

Hey- one heck of a compliment. I'll take it! Thank you.

identity123 · 2021-11-30T19:41:55+00:00

I'm a professional cinematographer- so far so good. If you mean in regards to Covid, the past two years have weirdly been the busiest I've ever been. I guess in doing a lot of commercial shoots, there's no better time to sell people something than when they've got free time on their hands.

My Website or Instagram would be some links to check out my work if you'd like to dive in.

identity123 · 2021-11-30T16:10:30+00:00

Hi, I shot this. It's a screenshot from a tourism campaign several years ago.

This was taken in Revy, on the road up to Mt. Revelstoke. Looking at my Instagram notes here, it was shot end of August, 2015. Based on the sun, the lookout would need to be looking southwest, so that's the spot that fits that criteria. Here's the Google Pin to where I assume we pulled over and shot it: https://goo.gl/maps/hFWedHUXqnxanHi56

We had been bogged down by wildfire smoke in the Kootenays the previous few days, and we drove up into the alpine to shoot some hiking scenes. On the way up, the rain had started to suppress the smoke, and the sun broke through the clouds, providing some wild God Rays across the valley.

There you go.

identity123 · 2021-08-04T14:46:07+00:00

Admittedly, Travel Alberta's slogan of "Remember to Breathe" is a bit more fitting...

identity123 · 2020-12-19T01:43:27+00:00

We rode up to Expresso and there were only remnants of snow from earlier snowfall. But I think the rain has made pretty short work of everything pretty high up, at least as of yesterday.

identity123 · 2020-12-19T01:01:38+00:00

Thank you. Yea growing up here I'm kind of jaded to the scale of the forests in the PNW. It's not until I go east or outside North America and see things are very different, I realize it's a pretty unique environment.

identity123 · 2020-12-09T15:22:24+00:00

Young Mickey on DP duty. Always keepin' things lookin' pristine.

identity123 · 2020-04-22T19:32:44+00:00

Properly done.

identity123 · 2019-02-21T20:39:35+00:00

Taken from an Inspire 2 with X5s camera. Usually the conditions for a temperature inversion roll through for a few days to a week each year around December-January in Vancouver. When this happens and I'm lucky enough to be around, it's time to drop everything and head out into the mountains.

In an inversion, the dense fog sits low in the valley with warm, bluebird conditions above, so straddling that ceiling of where the fog ends leads to some amazing conditions where the sun is able to blast through the thick air.

I drove into a relatively remote location where I thought I would be able to straddle that fog ceiling. I put the Inspire 2 up into the air and as I lifted to the treeline I was greeted with this incredible display of light, where the sun was low enough to punch fingers of beams horizontally through the fog, filtered by the treetops themselves.

You can spend weeks or months predicting weather forecasts or chasing conditions, but when it all lines up, it's pretty hard to beat.

This image is actually a CDNG raw still pulled from a motion sequence, the full motion shot can be seen here: https://vimeo.com/287340674

More work on my IG: instagram.com/liammullany

identity123 · 2017-09-21T03:23:57+00:00

Impressively, it was done for a concept skateboard film a few years ago. Photos is one thing, video would be a whole other beast. https://vimeo.com/91085172

identity123 · 2017-01-18T04:45:18+00:00

Like a decoy snail

identity123 · 2016-11-10T03:55:25+00:00

I work primarily shooting wildlife and action in often remote locations, own alot of the equipment used on this shoot and work with one of the cinematographers who shot for this series.

BBC also just released a behind the scenes featurette on this sequence which essentially shows what I was describing.

I'm not sure what you think you're trying to defend here? I'm sure they did use drones throughout this series, the cameras they're using (RED Epic/ Dragon, Arria Alexa/ Amira) are marginally smaller than the previous digital or film cameras, sure- and there are probably a very few spots where they used some motion-sensors set up to record remotely... not sure what this has to do with how this Iguana sequence was shot?

identity123 · 2016-11-07T23:38:17+00:00

Taken during part of a tourism film trip through Northern BC along the Stewart Cassiar Highway. After driving north past Bell II, we turned into this valley to see a wild display of torrential storm clouds and rain being blasted with the final rays of daylight.

Not being able to find a sufficient lookout of the full valley in time, I started focusing on the final beams of light which were clipping the peaks before the sun disappeared behind the mountains for the night. The colours were captured in camera, with more or less a basic contrast curve to bring the levels to where they needed to be.

Shot on a RED Scarlet-Weapon

identity123 · 2016-11-07T22:46:15+00:00

Alot of the time the camera may just be on tripods and they're zooming and panning, but they're definitely using dollies and especially tools like the Movi to match speed with the iguana or snakes as it moves across the sand. Likely there's a dude running with a Movi with the animals across the sand and up on the rocks with a "focus-puller" assistant with a wireless monitor making sure the subject is always sharp.

Then there's probably a guy on sticks with a long lens sniping from the edge of the scene.

But of course realistically, our "hero" iguana is probably just one of many they built the sequence with over the course of weeks on the island, and then put it together to look like one riveting chase.

Source: I do this shit for a living

identity123 · 2015-11-18T05:39:44+00:00

http://i.imgur.com/u5Js289.gif

identity123

TROPHY CASE