Mitsubishi "Save The Chimp" TVC

Jeremy Goodall, Director of the Mitsubishi "Rescue" TVC has this technical comentry to say"I must say that shooting with the four Mitsubishi vehicles across the difficult terrain we encountered was an absolute pleasure। At one stage when shooting in Maputo I took the fuse out of the ABS braking system in of the Outlander, in order to slide the vehicle. We then took the vehicle onto a stretch of beach where we battled against the setting sun and very soft sand. The vehicle got stuck and sank, into the thick sand. We desperately searched for the correct fuse as the mechanic was on the mainland. We found the correct slot and of course got the shot. I took the Lancer to high speed shooting in the tight bends of the tar section of the rain forests. The Mitsubishi Triton handled immaculately on the off road section of the shoot, especially being put through the tough off-road rally type of driving that was essential to the look I wanted to create for the commercial. Its ability to remain balanced during high-speed skids at the bush meat market combined with the specialized equipment allowed for seamless stability to get the shots I needed. I used an Arri 435 with a Panavision short Primo Lens that was mounted on a 3.3m R1 arm and attached to the vehicle allowing the camera to move with the vehicle creating a definite look as well as allowing me the latitude of shooting the car at 6FPS giving me the sharp focus on the vehicle and the fast movement of the background. I was able to continue with this technique with the bonnet beam & door mount that was also attached to the cars, allowing me to get the speed & effect I needed. This was in contrast to the look that I got from the Mega mount remote head that was mounted on a crane & traveling on a tracking vehicle. I could control the camera from inside the tracking vehicle as I tracked along the roads giving me a floating action that allowed me a lot of maneuverability around the car, creating a visually appealing look that I wanted. I used Kodak Vision 500 as I was shooting in low light conditions with high contrast and heavy shadows. By using this type of film stock I was able to balance between the deep shadows and the high lights without losing any quality in the reflections."