EXTRAS!
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AJ Marson and I followed the stills team around with just a couple of panels and one G&E guy. Our job was to "do the best we could" - No expectations. So, what to do when we had to follow an amazing strobe shot? Use the backlight to our advantage and turn the high key shot into something dark and smoldering hot! Major props to the wardrobe stylist for giving us the dress to work with - it made the sequence work.
I bought all of the crew Path water bottles. (Any of this style of refillable aluminum bottle would work, but Path was on sale.) We went through over 25 gallons of water in jugs and saved hundreds of plastic bottles - and, saved $. Can't recommend it enough. Not everyone remembers to bring their own water bottle and those get lost, left behind, etc. These can get damaged yet are fully recyclable so, I feel it's a good balance to strike and over a multiple day shoot, you save $ over plastic.
Test video with comments and comparison to the final spot. We had to figure out how to do it first!
Really cool location. Just don't make me shoot here again! :) No elevator, all gear gets shlepped up 2 x flights of stairs.
Spent a week and half with a Polestar 2. Full Real User review on LinkedIn
My good buddy Luke Seerveld's "Meet The Gaffer" YouTube Channel. Great reviews of new lighting instruments, how to and more. Including pies.
Kudos to the John McNeil for insisting on going analog and using a real stunt person really hanging for just a quick shot.
My Assistant (pictured) standing at our overlook location managing and receiving the feed from a jet boat full of extras for an International LIVE commercial broadcast in the UK. It went... OK. A few global mis-cues, mis feeds around the world and it probably won't be tried again, but was a technical achievement nonetheless. This was the tech rehearsal day, the shoot day was typical Summer in SF. Cold and miserable.