Nike Mercurial Victory Crazy Making Details
Behind The Scenes - Nike Mercurial Victory II FG Football Boot Reveal -
With meticulous planning and execution, my vision came to life. One of my favorite moments in the film is when the embossed logo fades out of view as the paint fills the set. I built the set by cutting out the shape of the logo, which had to be precisely offset from the rest of the table to achieve the desired effect. It took several attempts to perfect, but the end result is killer. Here is a short time lapse of us constructing the logo.
I constructed the set in my garage studio to control as many variables as possible to eliminate problems and inconsistencies during shooting. Evicting the spiders that had taken up residence in my 100-year-old garage, I cleaned out the space to maximize the amount of space I had to work with. Getting back to my roots shooting slide film, I made sure my set was perfect before capturing the first frame, not wanting to leave anything to be fixed later in post-production. After years of shooting still photography with a digital camera, I’m used to being able to alter an image in Photoshop. However, as I’m now shooting more and more motion, I have to be sure that every detail is in place before we begin – not a speck of dust on the table, and no light stands in the frame.
Dealing With The Deluge
8 Unique Time-Lapses
When I started my pre-production on this project, I expected to produce scores of images, but even so I was blown away by the final count. The shoot was only five hours long, but the incessant clicking of so many cameras continued in my head for days. I had set up a total of three stationary cameras (one directly above, one at the main angle, and one slightly left of the table top). Additionally, I had a few cameras I moved around, depending on the action taking place. By the end I had a total of eight unique time lapses, ranging from a couple hundred shots to close to 5500. Before I could begin post-production work, I had to first organize the thousands of images. After import, they needed to be sorted in reverse, so that the final sequence would show objects being uncovered (instead of covered) by paint.
My Secret Weapon
5616 x 3744
Shooting this time lapse contained a secret weapon. For the main angle, I used a Canon EOS-1Ds Mark III with a Zeiss Planar T* 1.4/85mm ZE prime lens. I shot ISO100, at a f/7.1 aperture with ¼ second shutter speed. The image quality of this setup is incomparable, capable of producing each frame at a 21 megapixel RAW image. At more than 5600 pixels across and 300ppi, we effectively created a 5.6K video…way cool!!!
How do you make sense of thousands of images taken in one day? Here’s my strategy for coping. After downloading the into a folder on my computer, I open the folder in Bridge. I sort the images in reverse order, and do a Batch Rename so that they stay locked in that order. Next, I start my scripting action. This has proven to be one of the more difficult steps of these motion projects. Unfortunately, one action couldn’t work for all the angles. Since paint is so specular when wet, reflections, lights, and even paint colors all have variables, I had to create a different action for each individual time lapse sequence. In each action, I tried to use the same white point, color correction, and overall style to create a cohesive look in the final sequence. After cropping and exporting them at HD size, I put them all into a movie and sent them off to Otherfilms
Inspiration Injection; The Vision
Challenges, Trouble Shooting, and the Triumphs. (read more)
The Playboard; Devil in the Details
Pre-Production, Production, and Post (read more)
Freeze Frame; The Perfect Frame
Wanna see some more info and shots? (read more)
Get The Inside Line
Here’s a sneak peek of whats dropping next… (read more)
Nike Mercurial Victory II FG Football Boot
This is 5.6K Video. It’s clean, crisp, and absolutely stunning. The Canon EOS-1Ds Mark III captures images up to 21 megapixels in size, allowing for plenty of editing headroom. It is capable of producing some of the sharpest images possible on a dSLR. For this time lapse shoot, I wanted to be able to use still frames from the video as part of a coordinated print campaign.
Usually, personal projects go one of two ways — they either succeed or fail, and there’s not much in between. I took a lot of risks creating this project, and pushed myself to try new techniques. Why shoot if you’re not going to take risks?! I am so thrilled that this video came out as beautifully as I’d pictured it in my head.
I always have to do things differently, so I shot the video to play in reverse. This meant that the entire video had to be done in one take. Once I started shooting, there could be no breaks, no cuts, no stopping. A slight bump of the table or tripod meant shoot over. There’s nothing like pressure to get the blood flowing!