As usual, we shot these on a RED Gemini with a 14mm Sigma Art Cine lens. This wide field of view gives the post production team some room to reframe as needed. The camera is mounted on a DJI Ronin 2 on a Flowcine Black Arm system to keep everything smooth, with us matching the camera height and angle of the original photography.
When we're shooting, we are provided with footage of the scenes that were shot on green screen, so we know the angle the camera was at, how long the scene runs (so we know how long of a continuous run to make), and if there are any vehicle maneuvers we need to make (such as pulling over, swerving, sitting at a stoplight/stop sign, etc) and when those maneuvers take place. Of course, we have police escorts involved to make sure everything is done safely and in a controlled manner.
While these sorts of shoots are more technical in nature than creative, I enjoy putting that side of my brain to use, solving technical issues and not worrying about how I'm going to light a scene, for instance. Fortunately, I have a mix of projects that allows me to do both technical as well as creative work.
So, what do the final results look like? Well, here are some screengrabs from the episode this shoot was for, with all the backgrounds being the footage we shot that day.
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