Saturday, August 1, 2020

Here's how that Nike splitscreen commercial was made

A post shared by Logan Triplett (@logan_triplett) on

Some full frames from the latest @nike spot with @o_hud . Here are some things that didn’t make it, and some frames before comps. We shot on Alexa LF and @masterbuilt_lenses. My DIT @hooksster created a custom frame for us where we could line up comps through VTR. Although a lot of the more complicated shots didn’t make the final cut, each shot was so painstaking, as we had to line things up with the archival footage in such a way that we knew we had enough there for post to do their work. The goal was to do as much in camera as possible. I think the most challenging part for myself and my crew was that we had to nail the height and focal lengths of the archival footage without truly knowing what those specs were. I ended up doing a ton of research on where cameras would be in cricket games, Olympic swimming, etc. on top of that, we had to create a look that complimented the footage and not stray too far from it. We quickly realized that we could put frames and stands on the side of the frame that we didn’t need to keep, this allowed us to dress only one side, and get our lighting much closer than normal. I remember that we often would get stumped on a shot that we thought would be easy. There were NO easy shots. @o_hud has this attention to detail that I’ve rarely seen. Plus he is a gem of a human being and a fellow skateboarder. Thanks @pulsefilms for having me ❤️❤️❤️ Much love to my crew.
A post shared by Logan Triplett (@logan_triplett) on

The W+K team—working with Pulse Films director Oscar Hudson, Joint editors Peter Wiedensmith and Jessica Baclesse, and the visual effects team at A52—researched 4,000 sports action sequences and chose 72 of them to combine into 36 split-screen moments, where the action on both sides appears to meld into one.