Client: MSG Networks // Creative Director: Dan Williams // Producer & Editor: Eric Jergensen //
Production Manager: Mara Mellin // Copy Writers: Eric Jergensen & Craig Silverstein //
Director: Brett Karley // Director of Photography: Richard Patterson // 1st AC: Govinda Angulo // Sound: Tom Myers // Gaffer: Dan Debrey // Grip: Mike Lechner // Gear Supplied by Abel Cine NYC & Adorama
Before the highlights of Super Bowl 50 and the 2015 NFL season fade into the Budweiser ether of yesteryear, I wanted to share some highlights from shooting three 30sec spots for the New York Giants and MSG Networks in a single day.
Football preseason is an intense time for the players. The athletes are on tight schedules revolving around two practice sessions a day, weight training and game strategy. It's during this time of year that all media requests are sent out from countless outlets, creating a huge demand for face time with the already overbooked athletes.
The New York Giants and MSG Network needed to create three unique spots, each separately starring NY Giants’ Victor Cruz, Jon Beason, and Prince Amukamara alongside sportscasters Bob Papa and Carl Banks.
The catch... we had a total of 15 minutes with each player with only a 10-minute break between each setup to reset.
Our plan was an intense scout and rehearsal during our pre-light day with stand-ins for our lighting and camera moves. We needed to light a large area of the Quest Diagnostics training facility for two setups and also pre-light a locker room for the third.
Each scene consisted of 8-12 shots at various lens heights, distances, and focal lengths within the 10-minute window. My first AC, Govinda Angulo, and I rehearsed the moves with our director Brett Karley. Our first camera setup consisted of the Sony Fs7 (s-log3 at UHD) with an Agenieux 18-80 T/2.8 shooting through a black magic 1/2 filter.
For our first two shots, we lit the practice field house using two M18s on medium rollers. The key was a shot through a 12x12 frame with (2) 1/2 silks. One layer of the silk was rolled back on the frame to provide more punch as the player moved further from the camera. Our rim light was shot through a 12x12 frame with opal and 1/2 cto for some color. All of our sticks, stands, and rollers needed to be placed on small wooden blocks to avoid damaging the astroturf. Additional fill was added using large silver and white bounce cards around the talent. We also used soft ambient daylight provided by a wall of east facing windows to help lift our overall exposure to T/4.
The locker room scene was lit with a separate tungsten package consisting of two open face 2k babies bouncing into one 8x8 silk and one 8x8 ultra ounce. These were positioned camera right and 45 degrees to the talent’s face above the lockers. The lockers served flags to cut the light hitting the scene. Edge and hair lights were lit with salt and pepper barflys. A snooted 150w on a dimmer added a rim light for the detail shots.
We had a great team for this shoot. We even found a moment to live out our NFL dreams, tossing a practice ball a couple of times while working out our shots.