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Recently Alpinestars came to us asking for a piece that would break through the crowded noisy arena of the AMA Supercross event. They wanted it to look distinctly different than other motocross spots. I always love a good challenge.

In the initial creative meetings, it was decided that we would shot black and white, with stark lighting and high frame rates. High frame rates for slow motion at night with high-speed cameras can lead to motion blur resulting in having to flood the scene with overpowering lights just to make the shots clear.  To avoid this, we shot on a Red Camera’s Monochrome Epic body.  Because it only evaluates black and white information, it is hypersensitive to light.  It turned out to be the perfect camera for the job.

Nathan Yant setting up the MoVi 10

Nathan Yant setting up the MoVi 10


Special thanks to Keslow Camera for hooking us up with the monochrome body on a short call.



Corey Koniniec, who works with Freefly, is one of the early adopters of the MoVI M10.  I brought him onto this project after he and I were able to capture great images while traveling fast on snowmobiles for a recent short film we shot in Chile.  Corey and I wanted to get a closeup of the product while tracking at high speed.  As I  hung off the side of a 4-wheeler tracking with the rider across the course, Nathan Yant controlled the tilt of the MŌVI M10 from the ground while Mike McEntire could remotely follow focus.

Mike’s lighting skills were key to achieving the desired moody effect and also allowed us to capture the end shot zooming out while the rider flew feet under the crane below him.