Tag: Garritt Hampton

Kevin Bacon EE “Two For One Tickets” Commercial – Filmed with the Zebra


Kevin Bacon EE “Two For One Tickets” Commercial

Kevin Bacon stars as Kevin Bacon and Kevin Bacon and Kevin Bacon and Kevin Bacon and Kevin Bacon in this fantastic commercial for EE. Filmed with the Zebra motion control camera dolly with the Talon repeat head, and three Aerohead repeat heads, this commercial allows Kevin Bacon to reprise his roles from Apollo 13, Animal House, Friday the 13th, Footloose, A Few Good Men, and Hollow Man, with references in dialog to Tremors and Flatliners as well.

This commercial was shot on 6 Panavision Millennium 35mm Film Cameras, with 3 Aeroheads, a Talonon the Zebra, and additional cameras on Sticks. After everything was shot, motion control move data was exported from Kuper (for the zebra), and from the Aeroheads and given to production for use in post.

Motion Control provided by Pacific Motion Control. for more information, visit www.PacificMotion.net or call 818-768-1573

Motion Control Operator: Paul Maples
Motion Control Tech: Craig Shumard
Aerohead Tech: Garritt Hampton
Aerohead Tech: Steve McDonagh


Jordan Flight Plate Innovation Film featuring King Bach – Filmed with the Technodolly


Jordan Flight Plate Innovation Film featuring King Bach
Technodolly Operator: Paul Maples
Technodolly Tech: Garritt Hampton
Director: Seth Epstein

In the words of the director, “shot over a long day, King Bach played 10+ characters (not all of em made it ). Shot on Red and using motion control we created a single camera move where he comes into scene as different characters”.

For this shot, which appears as an approximately 250′ continous track move, we set up 60′ of track on a green cyclorama stage in Hollywood. We programmed a very simple, 2 keyframe camera move, tracking straight back with the arm offset away from the track. The whole track move was approximately 50′ long and had to be a consistent speed. Using the maximum cartesian speed function on the Technodolly, we set a top track speed of about 1 Meter per second, then repeated the move many times as King Bach played numerous different characters (Twinning Shot). The same move was used to film additional actors (athletes), some of whom appear in the final commercial and some who don’t. The Technodolly worked continuously for around 17 hours without any problems and the quiet operation of the Technodolly allowed all of the dialog to be recorded live.

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io9.com Article Highlights the Importance of the Use of Miniatures in Interstellar

In the io9.com article “Interstellar Is the Best and Worst Space Opera You’ll Ever See“, author Annalee Newitz highlights the importance of the extensive use of miniatures in Interstellar. In it she writes, “Nolan shot the film using a lot of practical effects, and this really matters when it comes to the spaceship sequences. The pilot Cooper (a scenery-chewing Matthew McConaughey) and his crew are in a ring-shaped vessel called the Endurance, and every time the landing ships dock with it you can see the telltale wobbles that reveal this isn’t a perfect, clean CGI creation. I’m not saying the ships look like models — in fact, they look more realistic than anything digital. There’s a feeling of heft and fragility that you get with practical effects that CGI never achieves, and it’s perfect for this story”. While the author doesn’t love everything about the movie, she does point out an undeniable fact about the film. The spaceship scenes look beautifully realistic.

These models were built by New Deal Studios and were filmed with the Graphlite and other motion control equipment from Pacific Motion. Kuper operator, Joshua Cushner and techs, Craig Shumard, Adam Francis, and Garritt Hampton spent several weeks at new deal moving cameras and equipment. The end result is spectacular.

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FXGuide “Interstellar” Article Focuses on Motion Control and Miniatures

FXGuide Interstallar Article, New Deal, Pacific Motion Control

FXGuide recently published an article featuring the extensive motion control and miniatures work in Interstellar. Focusing primarily on the model building and special effects work of New Deal Studios, the article features some great shots of the Graphlite and the models. Pacific Motion Control provided a few motion control rigs for the filming of most of the space scenes and models. These included the Graphlite motion control crane, in its largest configuration, with a 3′ column riser and a 36″ arm extension. We also provided a bogey dolly, heavy duty turntable, and a heavy duty rotator, used to rotate the enormous models.

The realistic models and expert special effects allowed for extremely engaging and realistic space scenes. One particular effect referred to in the article is the mounting of a VistaVision camera to the models themselves. Director, Christopher Nolan wanted an intimate look at these beautiful ships as they careen through space. Pacific Motion Control, and motion control operator, Joshua Cushner were tasked with moving these giant models with precision, while the attached camera captured the rotation of lights and background for a breathtaking, up-close view of out-of-control spacecraft.

You can view the original article at FXGuide.com

Kuper Motion Control Operator: Joshua Cushner
Motion Control Tech: Craig Shumard
Motion Control Tech: Adam Francis
Motion Control Tech: Garritt Hampton

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Regions Mobile Banking Commercial – Filmed with the Impala and Bogey Dolly


Regions Mobile Banking Commercial “Give Life the Green Light”


Behind the Scenes – Regions Mobile Banking “Give Life the Green Light”

Shot on location at a school in LA, and at the LA zoo. All of the shots at the school were done with the Impala and all of the zoo shots were with the Bogey dolly. The commercial was shot on an Arri Alexa.

The hero motion control passes were all recorded live using encoders. The dolly and arm were operated using our t-bar encoder, which allows motorcycle throttle style control over dolly speed and boom. The head was operated live with our wheels encoders, and focus was controlled with our Preston FiZ motion control interface, allowing the use of the industry standard Preston FiZ II hand unit and motors.

The School and Zoo shots were all completed in a single day, while fighting changing weather and waning sun.

Most of the school shots were done in a light rain, with the Impala covered by a few trash bags. All of our gear is completely portable and suitable for any location. We have shot in the most extreme conditions, including snow and extreme cold, rain, desert windstorms and extreme head, and rising tides on the beach.

Motion Control Operator (Impala) – Paul Maples
Motion Control Tech (Impala) – Jordan Hristov
Motion Control Operator (Bogey Dolly) – Rob Menapace
Motion Control Tech (Bogey Dolly) – Garritt Hampton

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