Cinematographer Jordan Levy shares with us the process of making the new “The Summer of Jeep” campaign starring Jeremy Renner. Jordan combined some super sexy tools, like the Cooke 35-140mm Anamorphic/i zoom, ALEXA Mini, and a Porsche Cayenne from Pursuit Systems, to deliver stunning cinematic shots.
This high-end commercial was directed by Jeff Tomsic, which is Levy’s friend and long-time collaborator.
Cooke 35-140mm Anamorphic/i zoom lens
Director of Photography, Jordan Levy has decided to use the Cooke Anamorphic/i 35-140mm zoom for “The Summer of Jeep” campaign. The Cooke 35-140mm Anamorphic/i is a 2x anamorphic squeeze zoom, featuring the classic, natural yet sharp “Cooke look” in an anamorphic format. This wide to telephoto 4x zoom lens incorporates an 11-blade iris for cinematic-looking, 2:1 oval bokeh. Designed for use with both digital cinema and lm cameras, the 35-140mm Anamorphic/i zoom covers image formats up to Super 35.
This lens is capable of shooting from very wide-angle to telephoto. The lens weight is more than 10.3 Kg ( 22.6 Lb) and costs more than $63,000.
This lens is capable of shooting from very wide-angle to telephoto. The lens weight is more than 10.3 Kg ( 22.6 Lb) and costs more than $63,000.
According to Jordan, the heavy lens is perfect for stabilizing shots, using one of Pursuit Systems vehicles: “I was also excited because 20/20 Camera Rentals, the boutique camera house I use in Los Angeles, had just received the brand new Cooke Anamorphic/i 35-140mm zoom that I was hoping to shoot most of ‘The Summer of Jeep’ campaign with, and when discussing the size and weight with its owner, Logan Schneider, I discovered it would also be the perfect lens to be mounted on the vehicles acquired from Pursuit Systems.” as explained by Jordan.
22.6 Lb zoom lens on a Pursuit System vehicle
I reached out to Jordan to elaborate more about attaching the 22.6 Lb Cooke 35-140mm Anamorphic/i zoom to a stabilizer connected to pursuit vehicle. As Jordan explained: “Typically to go with a modern anamorphic zoom lens on a Pursuit System Vehicle, which is a stabilized head mounted to an arm that comes off the roof of a specialized vehicle, you would have to use a lightweight spherical zoom, then have an anamorphic rear attachment, which is how you adapt a modern zoom for anamorphic purposes. The weight and range and overall physical size of the Cooke Anamorphic 35-140mm were in spec range to fit, balance and stabilize properly on the Pursuit Systems stabilized flight head”.
For those of us that are not familiar with the Pursuit System capabilities, check out their video below:
The weight and range and overall physical size of the Cooke Anamorphic 35-140mm were in spec range to fit, balance and stabilize properly on the Pursuit Systems stabilized flight head
Director of Photography, Jordan Levy
Check out the BTS footage below that shows the Cooke 35-140mm Anamorphic/i on one of Pursuit System vehicles:
ALEXA Mini and SXT as the weapons of choice
20/20 Camera Rentals provided Levy with two ALEXA Minis and one ALEXA SXT, a full set of 10 Cooke Anamorphic/I-s ranging from 25mm to 300mm, plus the new 35-140mm zoom. Throughout the week-long shoot, Levy used multiple Pursuit Systems vehicles to be able to capture the driving footage, including a Ford Raptor Pursuit, which he operated himself for all the off-road footage.
Shooting handheld on high-end production
Levy, with director Tomsic, also decided that they wouldn’t do any camera mounts or process trailer work, preferring instead to shoot handheld inside the Jeeps to be more in the style of an independent film. Levy utilized the Cooke Anamorphic/i 65mm here, with its close focus of about 5.5 inches from the front of the lens. “The ability to cover the action from wide on the talent to then go down to a close up of the interactions with the Jeep’s touchscreen is something normally one would have to use diopters for in standard anamorphic lenses. The 40mm also became a favorite of ours on the shoot, being wide and small enough to be stuffed in the back seat of Jeep Wrangler!” he said.
Jordan says that the indie style of shooting inside the car was with no rig, all handheld. “Where we would typically shoot from a process trailer or a rig to stabilize the camera inside the car, this style lent itself to having a less polished feel not typical for high-end car commercials.”
Where we would typically shoot from a process trailer or a rig to stabilize the camera inside the car, this style lent itself to having a less polished feel not typical for high-end car commercials
DP Jordan Levy
Final thoughts
Take a look at the commercial and try to put the puzzle together (Cooke 35-140mm Anamorphic/i+ Pursuit car + handheld camera operation) in your head, from creative aspects. Take into a consideration that you are looking at a very high-budget project that was armed with all the expensive goodies (camera, rigs, and lenses), and ask yourself this question:
Would you manage to deliver the same results with a fraction of the cost? If so, let’s know in the comments section below.
