Nike Second Coming TV Spot

[Jamie Lewis]

Does anybody have any info on how this TV spot was shot? Such as if it was shot on a blue screen or on location? The lighting is pretty wicked (both inside and outside scenes). I'm guessing it was shot on film.

 

Here's a link to the TV spot. There are no stills. Just click on TV spot.

 

http://www.nike.com/nikebasketball/usa/?lo...ce,secondcoming

[Wendell_Greene]

This spot was directed by Dave Meyers who is repped by @Radical.Media.

 

Dave is best known for his award winning work directing music videos, but he emerging as a go to director in the world of spots. The DP is one of my favorites, Paul Cameron, A.S.C.

 

The spot was shot on film, using Panavised Arri 435 cameras. If you watch the spot as they approach the doors of the hangar, you'll notice the rows upon rows of kino flos placed in ceiling and the way they are placed on the cone shaped "scoreboard" type structure. Of course, many other units were more than likely used at floor level, in various ways as Cameron saw fit, but I don't have that information.

 

Excellent job of color grading by Colorist Tim Masick of Company 3. There was also 2D and 3D VFX by Method Studios on the spot, particularly the sky replacement and background elements on the exterior shots as the players approach the tarmac.

 

Meyers only had one day to film the spot with all the players and because he felt the players were way too valuable to be possibly risking an injury for a non close up shots he sometimes relied on doubles for the tight shots of hands and feet. I think he also have used doubles in some of the wider shots, which is why you'll see shots of players in silhouette.

 

Hope this helped.

 

 

 

 

[Jamie Lewis]

This spot was directed by Dave Meyers who is repped by @Radical.Media.

 

Dave is best known for his award winning work directing music videos, but he emerging as a go to director in the world of spots. The DP is one of my favorites, Paul Cameron, A.S.C.

 

The spot was shot on film, using Panavised Arri 435 cameras. If you watch the spot as they approach the doors of the hangar, you'll notice the rows upon rows of kino flos placed in ceiling and the way they are placed on the cone shaped "scoreboard" type structure. Of course, many other units were more than likely used at floor level, in various ways as Cameron saw fit, but I don't have that information.

 

Excellent job of color grading by Colorist Tim Masick of Company 3. There was also 2D and 3D VFX by Method Studios on the spot, particularly the sky replacement and background elements on the exterior shots as the players approach the tarmac.

 

Meyers only had one day to film the spot with all the players and because he felt the players were way too valuable to be possibly risking an injury for a non close up shots he sometimes relied on doubles for the tight shots of hands and feet. I think he also have used doubles in some of the wider shots, which is why you'll see shots of players in silhouette.

 

Hope this helped.

 

That was VERY helpful. Thanks, Wendell.

[Wendell_Greene]

That was VERY helpful. Thanks, Wendell.

 

 

You're welcome.

 

Btw, I found this behind the scenes, making of video on You Tube

 

[Jamie Lewis]

You're welcome.

 

Btw, I found this behind the scenes, making of video on You Tube

 

 

Good find!

 

Thanks!

[Engin Torker]

This one is a bit old but I just saw it.

In behind the scenes we see some strong tungstens used mostly as rims and it seems the background windows are a bit bluish. But in the final ad I don't see any difference in the colors between them. Is it because the rims are too overexposed to let us perceive the color difference or is it some other thing?

Thank you.