60 Second Cinematography - Car Mount Shots
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- Опубликовано: 26 авг 2022
- Most important takeaway from this 60 second cinematography -
Hire a professional with the equipment and knowledge when attempting shots like this.
In the episode we look at why triangulation is critical in getting hard mount shots to work.
We also delve into some simple lighting hacks which are small and easy to use without getting into external rigging for larger light sources.
We used two of the Idea Vision Vacumount system with extra suction cups along with various bits of rigging from Modern Studio to achieve this. 
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That lighting solution is VERY clever.
Thanks!
AI can't replace such masterful shots and/or replace this type of work. Very nice video for the average Joe cinematohrapher like me to learn something.
The results is just mind blowing‼️🔥🔥🔥 and you showed me right what I was thinking 😭😭💯definitely got a new subscriber
Do you need council approval or overseeing during the filming on public roads or is it fine during idle hours in the evening?
Bro Amazing work ❤️🔥❤️🔥🔥
Loved the video. Curious if it's the iDEA VISION SpiderMount 220 System Kit that you used. Also wondering why you had three and only used two? For redundancy perhaps? Thanks!
It is the idea vision system, it’s awesome 👍🏼 so for these setups we didn’t need the third but for some things we would do. When I specced it out I got extra single cups and the extension kit for lighting rigs or more complicated camera rigs that need more support.
Hey friends, how do you find BMCC 6K PRO rolling shutter?
mind blown. someone starts an account not about fx3. thank you
congrats
Where do we see the entire commercial? 🙌🏼
why did you place the second camera angle on the same side where the light is coming from? you also break the 180 by doing that. was it for practicality?
I assume since both cameras were rolling at the same time, mounting it on the opposite side meant the A camera, shooting head on, would have caught the B cam in frame.
Practicality, the A camera angle was the front mount and was the priority. The intention for the B cam side angle was to cut in between a selection of other shots rather than as a direct cut with the A cam, in that sense we don’t interfere with the direction of travel as A cam is looking straight back so it still works. Also it isn’t a hard break, more sitting right on the line and in fact cutting between the two you still keep James the driver in essentially the same screen position and as the direction of travel doesn’t feel flipped you could get away with it.
Lighting becomes a compromise for the B cam angle, in an ideal world we could have set a finessed for each individually.
@@jacoblea You got it 👍
How did you deal with the glare from the window?
In this scenario I didn’t fight it, having the street lights catch the water drops on the windscreen added to the feel. If it was an issue then a polarising filter may have been able to tame that a bit. This does tend to be worse during the daytime when the sky can completely milk out a windscreen - which hopefully a polarising filter will help with.
What is that diffusion you're using with the light setup?
It was probably Lee 216, but basically just a heavy diff or to taste - this being a night shoot level wasn’t an issue.
Do you have any tutorial for how to do a fender cam style? Ie recording the wheels from the side ala 80s style
Depending on the camera system that can be quite an intense rig, many ways of approaching it - suction cups, hard mounts, from towing points or to frame of the car with unibody clamps and speed rail starters etc. But the common thread would be triangulation. Where are you based? Best thing would be to work with a local gaffer who has vehicle rigging experience, especially with this one as it will definitely be outside the immediate footprint of the car.