Speaker 1: In this video I'm going to break down a recent car commercial I DOP'd on. I'll take you behind the scenes looking at gear, explain the lighting setups and explore creative filming techniques. Now let me start by saying that you don't need a massive crew to pull this off. I've linked everyone in the description below, but in short it was Mia's DP, Raylan Jovi directing, Pim Bail on FPV, our two drivers from Drive and Slide, Vincenzo the dancer and BTS by Waleed, Gaitan and Luca. Gear wise I shot everything on a Sony a7s3 using only one lens, the 24-70mm f2.8. For stabilization we used a DJI RS 3 Pro plus transmission, both hand out and mounted on a Tilta Hydra car rig. The shoot was split into two sections, the driving parts which we filmed just outside of Paris and the dancing sequences in Amsterdam in the Netherlands. Starting with the dancer we had two different setups. First we focused mostly on slow movements and close-ups and the second where we had more dancing, jumping and faster movements for when the beat drops. The first setup consisted of one soft light, a Nanlite Forza 300 on a large parabolic softbox and a Nanlite PolarTube set to a red hue. We wanted to emulate the colors of the car which cut perfectly to the close-ups of the body before revealing the car. For most of the shots we had the PolarTube fixed on a stand, but we also tried a few where Raelynn moved the light around and this created an interesting dynamic. Frame rates we opted for slow motion, shooting everything in 100 frames per second except for a few scenes in 25 frames per second at a low shutter speed of just 5 for a creative blur effect. These shots served as dynamic transitions between cuts. Moving on to the faster scenes we changed rooms and here we did a mix of 25 frames per second and 100 frames per second, but the overall movements were faster with a bigger focus on the wides. We opted for a single hard light from the side to create a strong contrast between light and shadow. I prefer soft light most of the time but in this case the hard light really accentuated the beautiful movements from Vincenzo. We got so many amazing shots here that it was difficult to choose which ones to keep. In the end it was about pairing the right movements with the car shots. On that note, the driving scenes. Day one we had a difficult start with rain slowing us down. At one point it got so bad that I knew I was risking my camera that was already drenched in water, so we put a bag over it, but that didn't stop the drops on the lens. After a few runs we managed to get some really good sequences without the water messing up the image, boosting the overall morale of the team. This was the first time I used the gimbal in the rain and it was impossible to cover up the RS3 without restricting movement and I'm happy to say it survived the whole day of filming. Using the Tilta Hydra on the outside of the chase car was a dream, but the real MVP was the DJI transmission. The biggest plus is the ability to control the gimbal movement straight from the monitor with the side handles, but taking it a step further, the ability to change camera settings and dive into the menu on the A7S III is a game-changer. Using the touchscreen I could adjust white balance, ISO and autofocus, but most important, start recording. This was by far the most exhilarating form of filming I've ever done, with the chase car at times going faster than the main car and sometimes drifting along, all while I had to keep the shot framed. I used the joystick on the DJI transmission on a custom setting for smooth control and I'm happy to say that the signal did not cut out once, a common problem with conventional receivers. When shooting cars, a polarizing filter is a non-negotiable and really helps to take away some of the shine from the vehicle. We stacked it onto a 1.8mm mist filter and with a 1-5 stop VND on the front. On day 2 we were met with sunny skies, but this also posed the challenge of inconsistency in the final edit, so again we got way more footage than we needed. With the gimbal set to super smooth, we didn't have to stabilize any of the shots, but it's crucial to balance the camera perfectly and do a calibration for best results. We shot all the car scenes in 25 frames per second for a realistic feel of the speed and power of the car, but made an exception for the final scene at the end of the film. This spectacular shot was captured by Pim Baal, a master FPV pilot based in the Netherlands. Although only this shot made the final cut, Pim got a ton of amazing clips and I was beyond impressed with his skill. Talking about skill, the drivers. The guys from Drive and Slide blew us away with their world-class driving. Their understanding of what works for film is one of the main reasons the project was a success. Their coordination, focus on safety and ability to execute complex driving under pressure had me speechless. At the end of day two, we shot the close-up product type shots on the Ferrari. For lighting, we just used a Nanlite PowerTube 15x moving over the frame to create mystery in the intro scenes. This was all shot on a 24 to 70 millimeters, some on the gimbal and then a few macro shots handheld using an adapter attached to the 24 to 70 millimeter. Last but not least, this film would not be possible without the amazing vision of Raylan Joey. Raylan not only directed the film, but is also the genius behind the concept and main edit so if you're looking for serious inspiration, go check out his channel. A massive thank you to DJI for trusting us with this project and for allowing us to create something that we're passionate about.