Find the GoPro in the Need for Speed Trailer
Wow, what a ride! Again, thanks to everyone who gave it a shot and entered our Where’s the GoPro in the Need for Speed Trailer? contest. It wasn’t easy, but eight of you correctly answered all of the trivia questions and uploaded the two correct screenshots as seen below.
GoPro Shot 1
GoPro Shot 2
I would like to shout out to our seven runners-up: Tom Guilmette, Vero Murillo, Morgan Simpson, Kevin Larsen, Jeff Courter, Ethan Andrews, and Travis Hayward. The first person to upload his correct entry was Joshua Shores from Baldwin, Wisconsin. Josh is the winner of a GoPro Hero 3+ from our GoPro sponsor and a phone consultation with me (Shane Hurlbut, ASC). Congrats Josh!
We’ve gone through the trailer and identified each of the cameras and lenses used. What a wild ride! Watch the trailer again below to see the mix:
Canon C500 with a 14mm Cooke S4 Prime. The camera ate it and the whole base was ripped off.
Canon C500 at night with a Canon 30-300mm zoom
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About Filmmakers Academy Cinematographer Mentor Shane Hurlbut, ASC
Director of photography Shane Hurlbut, ASC works at the forefront of cinema. He’s a storyteller, innovator, and discerning collaborator, who brings more than three decades of experience to his art. He is a member of the American Society of Cinematographers, the International Cinematographers Guild/Local 600, and The Academy of Motion Picture Arts and Sciences.
Hurlbut frequently joins forces with great directors: McG’s Netflix Rim of the World and The Babysitter, plus Warner Bros. We Are Marshall and Terminator: Salvation; Scott Waugh’s Need for Speed and Act of Valor; and Gabriele Muccino’s There Is No Place Like Home and Fathers and Daughters. His additional film credits include Semi-Pro; The Greatest Game Ever Played; Into the Blue; Mr 3000; Drumline; 11:14, which earned Hurlbut a DVDX nomination; and The Skulls. Notably, his television credits include the first season of AMC’s Into the Badlands.
Cool at least i got one right i am happy about that
rudy Diaz, ha ha, nice, thanks for playing
This was GREAT. I’d love to see this type of production info more often. I honestly couldn’t have guess 1 camera from any shot. Great work Shane. Thanks for sharing. I can’t wit to see this.
Rick Augustus, you are very welcome and thank you for the kind words, there is more of this to come
Dang, I had both those shots in my submission, but in addition to a couple of others. Oh well. Thanks for posting the trailer with the breakdown of the gear used. Very interesting to see how all the shots stacked up to each other.
David Atkins, You are very welcome and their will be a detailed breakdown of how and why I used each sensor, and we had to make it a little more difficult.
Congrats to the winner! Although, I thought that there were 10 GoPro shots and we had to guess all 10 and not guess the only two shots themselves.
Gareth, I put 10 slots so that you all could put as many as you thought. Cannot make it so easy, RIGHT!!!!
I agree, makes total sense. But perhaps specify next time that you may or may not need all 10 slots. Regardless, I quite enjoyed looking through the trailer more technically than I normally would.
I’d love to see a post on how the choices were made. Like why you decided to go for 1DC in certain shots instead of C500.
Pooyan Manoochehry, it is all coming right before the release of the film. The 1DC was our helmet cam and crash cam because of weight and sacrificial nature.
Shane – thanks for lifting up the curtain a bit so we can see how wizard works. It’s a great to show that multiple types/brands of cameras are needed to achieve the shot.
Dave Helmly, you are very welcome, I will be doing a post right before the release that goes into why I used each camera as well as the 2.5 minutes trailer with all the shots broken down. Stay tuned
Awesome post. I’d still get the camera wrong even with the answers. I learned more in 32 seconds than I could in weeks. Thanks for the education. Look forward to seeing the movie. Cheers.
Ron, you bet my friend, thanks for the support
Shane, thanks for sharing. Do you think you could do a “lens look” test at some point? I would love to see all the different series of cinema lenses shooting the same scene(s) on the same camera–just to get a better sense of the differences in color, contrast, clarity, etc.
Jason Prisk, that is a good one. You got it, this will be awhile though.
Shane, you’re really an inspiration. Appreciate the knowledge you share immensely because you just don’t have to do this. I’m excited to go and watch this film because I’ve kept up with it since you’ve been posting on the website. I feel like I was apart of it haha!
Quick question, I noticed you said the C500 “ate it” – how did the Alexa Plus at 0:22 fare? Was that aerial photography? I’m guessing the data doesn’t corrupt when a camera just dies during shooting or is it some type of external set up for data capture?
Meji, the camera was hit at 90 plus miles per hour leaving nothing but circuit boards and a lens mount. The Codex S recorder was safely behind a tree in its own Crash Box
Awesome! You should check out our new mount, the Go-Flex Arm! It allows you to move and manipulate your camera to many different angles, without unbolting the accessory. Get one here – http://tinyurl.com/qz6a2zc
Jason, thanks for sharing, I will check it out
Jason, I will try this out, thanks for sharing
I would love for you to do more of these! You should breakdown some of your other works, I would love to see something like Act of Valor and Deadfall with lenses used. Great stuff! I want to only see this movie because of you and Aaron Paul!
Manny Villanueva, you bet, We will be working on that. Thanks for the support