Blackmagic Design has announced that Micro Cinema Cameras were used by second unit DP Casey Wilson to shoot action, point-of-view (POV) and close-up shots for Mountain Dews new off-road Capture the Flag commercial featuring professional race car driver Chase Elliott. Nate Balli, of Utah-based production specialists Moniker Media, directed the spot, which made use of innovative shots in order to highlight an unprecedented game of Capture the Flag thought up by Elliott, who also mapped out the course.
Shot in The Little Sahara sand dunes located in Utahs Sevier Desert, the high-octane spot follows Elliott and his friends as they face off in an action-packed game of Capture the Flag played by two teams riding in dune buggies and on dirt bikes, racing over towering dunes and going after giant flags.
I was brought on by main unit DP Jacob Schwarz and was put in charge of getting the POV and action shots with the Micro Cinema Cameras, said Wilson. We were able to get mounted shots of the dune buggies, the vehicles suspensions, hands shifting gears, as well as Rush style eye close-ups through Chases helmet, mounted dirt bike shots, huge jumps off the dunes and essentially most of the dangerous angles.
Employing a variety of MFT lenses to get the specific shots they were after, Wilson and his team mounted the Micro Cinema Cameras using different rigging apparatus on the drivers helmets, the dune buggies, the dirt bikes and other objects, including an arm attached to the outside of a dune buggy to capture one of the biggest jumps in the spot.
We really loved the visual quality of the Micro Cinema Cameras, and they were chosen over other options because of their size, the ability to shoot in RAW and the quality interchangeable lenses we were able to use with the cameras MFT mount, explained Wilson. In testing, the RAW up-scaled to 4K extremely well to seamlessly match the rest of the footage, plus the Micro Cinema Cameras dynamic range is amazing; the image quality is second to none in its class.
According to Wilson, production went into the shoot knowing it would have to finesse the look in post since they couldn't control the light for every shot. The Micro Cinema Cameras 13 stops of dynamic range was a huge factor in choosing the camera for this reason, he concluded. The camera gave production plenty of latitude to work with in post. And the fact that the camera shoots RAW as opposed to some variant of H.264, meant going into post, they had the advantage of already working with high quality images.