Klaus Cam Adventure!

The Klaus Cam, developed by Klaus Obermeyer, has been used in countless commercials and is continuing to be used in feature films!

The Klaus Cam has already been used in the films The Dark Knight and Eat, Pray, Love; and  latest venture being on the set for Of Mavericks and Men, starring Gerard Butler. The movie enlisted the services of Aero aerial director, Craig Hosking to help capture the high intensity surfing scenes for the film. Klaus co-piloted with Craig and took these amazing stills. 

You may be wondering, "What is or are Mavericks?"  Well, I'll tell you.  The Mavericks is (yes, singular) "a world renowned wave break" that's located in northern California a half a mile off Half Moon Bay. 

In short, it is a dangerous and daring bit of ocean to surf on (as you can see in the above picture the surfer is incredibly small in comparison to that wave!) and shooting an action sequence on these giant waves is nearly an impossibility. But the Klaus Cam is perfect for a shoot like this because unlike other helicopter rigs, this camera can get right at eye level with all the dangerous action (but without putting any of the crew/talent in jeopardy!)  So thanks to the Klaus Cam, all those close shots that they needed were captured! (You can read more about Mavericks here.)

Of Men and Mavericks is scheduled to open in theaters October, 2012.

Happy Holidays from RAM and Jeep!

Goodness, this is a very busy holiday season! Especially thanks to the latest RAM and Jeep spots shot by Klaus Obermeyer in snowy Aspen, which makes me want to grab a mug of marshmellowy hot chocolate and cuddle up a Labrador under a sparkly tree every time I watch them! 

Watch the RAM and Jeep spots and then I'll tell you how we did them. It's okay, I'll wait....

Welcome back! To answer the first question about the RAM spot that is on your mind: "Did they really build that house and is the last shot actually the house, completely finished?"  Answer: "Yes and yes!"

Both of these spots would not exist if we didn't have the Aero Jet. We were awarded both spots on a Friday and had a week to complete the shoot.  So Saturday morning, Klaus (Director), Lance O'Connor (EP), Michael Hartog (VFX Supervisor) and Greg Blair (Production Designer) all hopped on the Aero Jet in Santa Monica, CA, and were in Colorado Springs a few hours later hard at work prepping the shoot in Aspen.

We bought the house that is built in the RAM spot in Colorado Springs (as a kit) and then hauled the wood to Aspen. At that point we had 3 days to cast the spot, permit and source it and then the last 2 days to shoot and build the house. No small task, this! Plus we had to plant a tree for the opening shot, which is still living on the mountain, by the way. It's nice little reminder that Aero and RAM were there.

(Sadly, the house had to be taken down... but for 2 days, we could say we owned a house in Aspen, Colorado!)

Now, moving onto the Jeep spot!

To answer the next question on your mind: "Will that Jeep Christmas tree fit in my house?" 

Answer: "No, no it won't. But if you have your own mountain, go for it!"

Again, thanks to the Aero Jet, we were able to make Aspen our studio. Permits, locations all fell together and we got a beautiful commercial.

Aero’s in-house post division completed the editorial with editor Alex Hagon. We’re doing more and more soup to nuts these days which is fantastic not just for the creative, but for maximizing production budgets. Austin Smithard is in production now on a spot he’s directing and editing with Sam O’Hare as the VFX supervisor. The Aero Studios VFX team in NY is doing all the compositing and photo-real set extensions for this tour de force. Think Elizabeth: The Golden Age meets 300. I can’t tell you more about that now or I’ll be shot (or at least given a dirty look and a harsh email…) So you’ll have to stay tuned!

***

CREDITS:

Client: Chrysler

Agency: Doner

Chuck Meehan, EVP Exec Creative Director
Sam Sefton, SVP, Creative Director
Jaime Perry, Associate Creative Director
Bruna Carmargo, Copywriter
Sarah Bills, Art Director
Brian Dooley, Head of Production
Diana Eagleson, Producer

Editorial: Aero Post
Editor, Alex Hagon

Asst. Editor, Tony Gentile

Shooting with the 5D

On a daily basis, we are asked, “Can you shoot on a 5D?” Well, sure! But like any camera, it’s only as good as the hands that it’s in, or the eye that it’s in front of. However it should be noted that speaking about a camera around photographers is much like discussing your favorite politician at a dinner party. (To be safe, I always go with Lincoln… Both for accomplishments and best use of facial hair and hats.)

So, without getting into a great debate, our directors Ken Arlidge, Austin Smithard and Indrani use the 5D quite a lot in their work. 

Ken Arlidge

 

Austin Smithard

Indrani

They have “run and gun styles” that are greatly aided by the 5D, and with their photography backgrounds, it was easy to make the transition. (Plus the they already had an arsenal of Canon prime lenses which always helps.)

To really let you get a feel of the work they have done with the 5D, here’s a reel with several examples of our favorite 5D work.

And if you want to know more (and why wouldn't you?), here’s an excerpt from an article Ken Arlidge wrote for Shoot magazine.

A remarkable tool has stepped into our film making arena. This is a paradigm shift that I believe is the onset of a change as dramatic as that of the transition from ‘silent movies to sound’ and from ‘black and white to color film’.

It is the melding of Consumer, Prosumer, and Professional technology and the miniaturization of the camera.

The Canon 5D Mark II digital SLR shoots HD 1920 x 1080 video. The camera weighs 5lbs. The difference in the physical rigging and moving of a 5 lb camera versus the typical 25-50 lb film and digital cameras needs little imagination. One high shot in the Coke spot was shot at the end of a 17 foot painter’s pole from Home Depot.

This technology allows us to travel light and minimize crew and unit sizes.

One 16GB card can hold 40 minutes of HD video. These cards are approximately 1 inch square!

The Canon 5D Mark II does use H264 compression on the HD files and the aliasing from this compression is problematic only with extreme over and underexposure.

The camera records mono through it’s built-in microphone but has a stereo input. I have built a sound kit that enables me to record boom and lavalier microphones directly into the camera wirelessly, cable free and in stereo.

Canon’s highest quality fast fixed and zoom lenses are available and the results are superb. Mounts are being designed to use existing film lenses but that is in part driven by the convenience, familiarity, and cost of using existing lenses, focus platforms, and accessories.

The latitude is no different in Telecine than with most other digital camera. It is imperative that, like the Red, Viper, and Phantom cameras you understand you have a smaller range than that of film. The beauty with these cameras is the grain free imagery you get in extremely low light situations.

It is critical to control the look for it to appear “filmic” and that requires a deep understanding of film and how to apply that experience to digital SLR shooting.

As a consumer camera you will of course see plenty of footage popping up shot on the Canon 5D that looks like “video”. It is when it is manipulated and controlled to look as film that we step into a Brave New and Exciting World.

Well, I couldn't have said it better. (No really, I couldn't.) But this is why I write blogs and point and clap at people to make thing happen. (The true sign of a great producer.) Really, it's better this way.

REEL CREDITS:

Tick, Ken Arlidge

Keep a Child Alive, Indrani

Lightbulb, Austin Smithard

Find Your Audience, Austin Smithard

Color of Nature, Austin Smithard

Pool, Austin Smithard

Bottles, Ken Arlidge

Battle of Waterloo, Austin Smithard

Presenting Aero Studios!

Well we're movin’ on up!

 (Movin’ on up!) 

To the… Chelsea. 

(Which is actually down!) 

To a de-luxe office space on the 7th floor… 

Okay… So my musical stylings aren’t my strong suit. I can’t even sing through typing. Yeesh.  But alas… Aero Film is EXPANDING! We’re launching Aero Studios, our boutique CGI/Animation Studio in Chelsea, NYC. Sam O’Hare, live-action director and VFX artist will over see the creative and I will assume the EP position.

Our first project came in the doors before the ink was dry on the new lease. Through the creative minds at Ogilvy NY, a film concept was created for the groundbreaking of the new Whitney Museum in New York. The premiere American art museum is leaving its home on the upper east side and their new building, designed by architect Renzo Piano, will be finished in 2015. It’s a bit dull to be at a ground breaking and just see models, drawings and a mound of dirt. So Ogilvy called upon Sam and Aero Studios to create a "photo real CGI film" of what the new museum will look like, complete with their comprehensive collection of art. Sam and his team had 6 weeks to create the entire museum in 3D from the architect’s plans, build the artwork, shoot background plates, and make it look stunning in the meantime.

You can watch the film HERE.

CGI rendering of the future Whitney next to the High Line.

Future Whitney as it fits into the skyline in Chelsea.

A shot of what the Future Whitney will look like at night.

The Groundbreaking event was Tuesday morning at the site on Washington and Gansevort street. Sam and I were there to hear the applause after the film and explain to some of the confused patrons, “No, no, the museum's not done yet. This is CGI.” Their response: "CG-HUH?"  Us: "It’s a film! It’s not real!"  Them:  “How’s that now?!”

Ceiling art for the groundbreaking ceremony!

Mayor Bloomberg makes his speech.

Sam's film is presented to the crowd.

Architect, Renzo Piano, holds the future Whitney in his hands!

Performance art!  And yes, that's dirt!

Performance art continues... dancers broke glass windows
to symbolize the Whitney's move as the dirt poured in center stage.

Please make sure you take a moment and check out The Whitney’s site and see first hand all the amazing developments that this new museum will hold.

We want to thanks the team at Ogilvy for being fantastic partners – Executive Producer, Peter Basset; Creative Directors, Jason Marks and Diego Zambrano. We want to thank The Standard Hotel for providing the shoot location for the time-lapse shots. The Standard is a great supporter for production, the arts, and promoting the culture of the Meatpacking District. Our LA directors stay there when shooting in NY (they have a beer garden… we have an Obermeyer… It fits.) And they also provided location support for Sam’s film, The Sandpit. I can’t say enough about how easy and professional they are to work with.

And of course, the team at the Whitney was an amazing client to have. Their respect for the work and the creative process made the whole experience very rewarding from start to finish.

Aero Film on the Small Screen

Set your DVRs folks! I'm very happy to announce that Aero directors, James Mangold  and Nelson McCormick  have both directed winning pilots that got picked in the primetime lineup for this coming fall.

Nelson on set. Directing and such.

Nelson directed the original pilot for Body of Proof starring Dana Delaney on ABC. He continued on to shoot 3 more episodes in its short initial run. After great ratings, this mid-season replacement was picked up for a full season. Nelson also directed several episodes of CBS's legal drama starring Julianna Margulies, The Good Wife.  Both shows have done exceedingly well and were both picked up for next season.  In the past, he has directed episodes of Criminal Minds, Southland, The Closer as well as many, many other shows and movies.

Dana Delaney lookin' pretty good.

James is helming a new show that is being held as a mid-season replacement for CBS.  CBS wanted to stagger its new dramas over the course of the year, so it’ll hit the air in December. (Or earlier if they realize CSI: Topeka isn’t working out… I kid. There’s no CSI: Topeka, but I bet you thought it possible for a few seconds.)

James, looking terribly directorial. 

The 2-2 is a rookie cop drama starring Leelee Sobieski and Adam Goldberg. (PS - “2-2” refers to a precinct in NYC.  I had to look it up.)  One of the executive producers on this project is Robert DeNiro. (Who James directed in Copland, so they go way back.)

We’re happy to announce that no one from Aero Film is connected to Two and a Half Men. (How does that stay on the air!!?!? Come on! Even Capt. Crazypants knew it was bad.)

So, till the season kicks in, the guys are free for commercial work. They welcome the “calm” pacing of commercial work compared to that of TV shows. Granted, if they only shot :30sec a day, those 45min dramas would take a mighty long time….