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Televisual Media's launch film for SecureData GI

Televisual Media's launch film for SecureData GI
News
Staff Reporter
19 January 2015

The launch film for cyber security product SecureData GI, produced by Televisual Media for creative agency Redroute, centres on a continual zoom effect. It was shot in 4K and 6K and mastered in HD, enabling images to be zoomed and reframed to create the desired effect in the edit.

SecureData GI launch film from Televisual Media on Vimeo.



About The film

Matt Percival, creative director, RedRoute, says: “SecureData tasked us with the multimedia launch of their new product, SecureData GI, which combats cyber crime through the use of “ethical hackers”. The project’s tight timeline and budget could have been restricting, but, through partnering with Televisual, we were able to create a film with production standards way in excess of what we could otherwise have achieved, while still coming in on time and budget.

Nobody needed convincing of the longer-term benefits to SecureData GI of producing something of cinematic quality, so the storyboard was very ambitious. The solution Televisual Media offered was to shoot almost all the film live, with a series of seamless zooms from wide cityscapes to a microcosmic world hidden between the blinking lights of a server and onward through a human eye. This involved a combination of complex greenscreen shots (filmed at Waterloo Film Studios) and highly technical aerial work.

The use of Fujinon HK and ZK lenses while shooting 4K on the Sony F55 and 6K on the Red Dragon gave us very high quality assets, with the added flexibility of being able to exaggerate the length of the zoom still further in the edit. By shooting at such high resolutions, it was also possible to create assets for print advertising out of the film footage. That Televisual Media pulled this off, both technically and in the time available, I find remarkable. That they managed to do it on budget, without any compromise to the skills and talent of everyone involved in the production, I find extraordinary.”


Ed Moore
CINEMATOGRAPHER
Freelance


My role on the film...

“The whole film is one continuous zoom out until it becomes the eye of a white hat hacker. To achieve the extreme length zooms we used three Fuji zooms with overlapping ranges – the extraordinarily sharp HK 75-400 and the ZK 19-90 and 14-35. After a bit of maths (thanks to Richard Mills at ONSIGHT) we worked out the time each zoom should take to composite easily with the next shot. Care was taken to keep the nodal point of each lens in the same place. For the zoom out of the eye we couldn’t quite get close enough with the 400mm so we combined a diopter with a track out to get us a start frame of almost entirely eye! This was an extremely challenging shot for my focus puller Jason Cuddy but he pulled it off with typical aplomb.”



Ian Evans
HELICOPTER PILOT
Helicopter Film Services


My role on the film...

“This shoot presented a unique set of challenges. [Aerial cameraman] Jeremy Braben and I probably have more experience than any pilot/operator, but with the quality of the camera and lens enabling the director to seek a completely unique shot, I confess we struggled. My problem was to establish a hover near the top of one of London’s tallest buildings with a positional tolerance of no more than a couple of metres. Bearing in mind the target disappears from your view when it’s directly beneath the helicopter, you can imagine the dificulty. Using the camera’s image to position myself was no easier as it’s almost impossible to tell whether to move sideways, forward or to pedal turn when the lens is looking straight down. I think we got it after 20 takes!”


Jeremy Braben
AERIAL CAMERAMAN
Helicopter Film Services


My role on the film...

“Televisual asked Helicopter Film Services to deliver on a very specific job requirement; to look down the side of a London skyscraper with a long lens, in a hover, and then pull up and out to reveal the city vista. We used a nose-mounted five-axis gyro stabilised Nettmann SuperG-2 system with a 6K Red Epic and Fujinon 24-300mm and 75-400mm lenses, fitted to an Airbus twin engine squirrel helicopter. The technically difficult overhead shot relied on precise helicopter positioning and required the camera to point 90 degrees vertically down. It was achieved by the helicoper pilot Ian Evans and I talking each other through our positions and making minute control inputs to achieve the desired shot. We ended up getting a shot the director loved and several he wasn’t expecting.”


Richard Mills
CHIEF TECHNICAL OFFICER
Onsight


My role on the film...

ONSIGHT provided Sony F55 cameras for the studio elements and Red Dragon cameras for the helicopter shoot. The lenses were the new Fujinon cinema zooms. I was consulted during the storyboarding and was impressed by the “continuous shot” concept which combined camera zooms, tracks and a helicopter aerial shoot to achieve a single seamless sequence. I had worked extensively in the past with DoP Ed Moore who wanted to combine three zoom lenses to enable a single shot to develop from a macro shot to a wide shot of a server room, out to a cityscape and then back into a human eye. I devised a calculator to compute the image sizes, zoom rates and ratios for the three lenses used to achieve the shots. Quite a challenge – and a great result!



Mark Wrench
EDITOR
Preditors


My role on the film...

“We worked with raw Red Dragon 6K footage off a Thunderbolt drive. It was a relatively quick turnaround for this kind of job - heavy on the vfx and audio – and it needed to be timed and delivered to those guys as quickly as possible. By the time the takes were selected (at full res), switching to proxies took a matter of seconds in FCPX and we were able to start the timing edit with rough comps and zooms. Our deliverable was 1920x1080, which gave quite a zoom with 6K rushes. Passing the edit to the vfx guys at Jam films was a quick export of a reference QT and an FCP XML, which Smoke is able to read. I wouldn’t hesitate to use this workflow again for this kind of project. Handling this amount of data used to be a nightmare but that is no longer the case.”



Tom Russell
COLOURIST
Preditors


My role on the film...

“SecureData GI was the perfect project to kick off our new building at Preditors. It allowed us to perfect a smooth workflow at 6K, with each team pulling together to meet the tight deadlines and showcase the benefits of using mixed resolutions. It was a real pleasure to be involved in the grade. Not only were the aerial shots of London stunningly beautiful, but the mix of resolutions and fast turnaround provided their own challenges. Using our Baselight Two, generation V, and our Dolby reference monitor, I was able to exceed the client’s expectations in terms of look and speed. The Baselight coped effortlessly with the multi resolution timeline – anything from 6K to HD – providing beauty and tech passes for the subsequent vfx work as well as the final tweak to the finished film prior to delivery.”


Mark Robinson
VISUAL EFFECTS
Jam Films


My role on the film...

“My main challenge was dealing with a variety of footage resolutions, from HD up to 6K, within a single timeline. The higher resolutions were essential for us to push into the shots further than the original framing and yet maintain clarity and sharpness. The challenging part was the effect on render times and the ability to quickly experiment with looks and techniques. The film was completed on Smoke running on a top line iMac. The software held up very well and remained stable despite the demands of the higher resolution footage and effects work. This level of work wouldn’t have been possible on a desktop system until quite recently and it’s an encouraging result given that many cameras are now able to shoot at 4K and 6K.”

 

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