Cam Scott 'Somethin bout a Girl'

Cam Scott 'Somethin bout a Girl'

Bridgestone: BLIZZAK 降雪地区篇

Bridgestone: BLIZZAK 降雪地区篇

Tourism NZ: 5X1

Tourism NZ: 5X1

Mini Cooper

Mini Cooper

1791 Diamonds: Ice

1791 Diamonds: Ice

Mitsubishi: Outlander PHEV

Mitsubishi: Outlander PHEV

Quechua: Sac à dos Extend

Quechua: Sac à dos Extend

Appalanchia

Appalanchia

Auto Montage

Auto Montage

Peugeot: 208 GTi

Peugeot: 208 GTi

Red Bull: Conquer the Crown

Red Bull: Conquer the Crown

Nike: Peetu Piiroinen

Nike: Peetu Piiroinen

Ssang Yong: Rexton

Ssang Yong: Rexton

UKETAMAU

UKETAMAU

Nurofen: Be Sure

Nurofen: Be Sure

Munns

Munns

1791 Diamonds: Say Yes

1791 Diamonds: Say Yes

Cam Scott 'Somethin bout a Girl'

Directed by Josh Wallace

DOP Ben Ruffell

Filmed on location in Queenstown, New Zealand

Bridgestone: BLIZZAK 降雪地区篇

DOP: Ben Ruffell
Director: Toshihisa Koike

Dentsy Creative
AJ Films
2014

SHPG, New Zealand

Filmed on Red Epic Dragon

Tourism NZ: 5X1

Aerial DOP: Ben Ruffell

Filmed in Queenstown New Zealand using the Shotover K1 and Red Epic.

Agency: whybin/tbwa sydney
production co: heckler
director: justin mcmillan

1 extreme athlete. 1 hour. 5 epic adventures – only in New Zealand. Play on. #5X1NZ

Mini Cooper

Mini Cooper 2014 'Goodbye Pork Pie' scene remake.

The original film 'Goodbye Pork Pie' is an iconic New Zealand film from the 1980's, directed by Geoff Murphy. It's a very popular movie, still to this day. I remember watching it when I was younger, and the film made quite an impact on me.

Director Matt Murphy (son of Geoff Murphy) asked me to shoot the project for Mini New Zealand, and Production Company Goodoil Films.

We filmed at Lake Hawea, near Wanaka. We had to keep the shooting day within 10 hours, including travel time and meal breaks. This left us with 6 hours and 15 minutes to shoot the job.

Fortunately, Matt was very organised, and he knew exactly what shots were needed to tell the story. We wrapped onetime, and I even managed to sneak in a couple of extra setups.

I decided to shoot on Red Epic cameras. I used two, and kept one in production mode for the tripod shots and the handheld in the back of the Mini.

The second Epic started the day in the MoVI M10 on the back of the tracking ute, after we go these shots it became the rig camera.

Aerials were provided by Peter Thompson with his Cineflex.

With such a short shooting day, and so many stunts the pace was non stop. Fortunately all of my crew were very focussed. With a good plan, and good management, we moved from one setup to the next smoothly. It was a great day, and a really fun variation on the traditional car commercial.

1791 Diamonds: Ice

Directed by Darren Simmonds

Director of Photography Ben Ruffell

Filmed in Queenstown, New Zealand.

Shot on Red Epic Camera

Mitsubishi: Outlander PHEV

Japanese Director Koshi Horibe had seen some of my previous car work and he asked me to DP this commercial for Mitsubishi Outlander PHEV.

I decided to shoot on Red Epic cameras, mainly because I wanted to take advantage of the small size so that I could use the MoVI M10 Handheld Gimbal Stabiliser on the tracking vehicle. I really liked the organic look of the MoVI, as compared to a crane and remote head. It also meant that I could devote the Libra mount to the Helicopter full time. Pete Bradshaw bought a lot of experience as Tracking Vehicle Driver, and I could count on him to line up the best moments freeing me up to work in with my MoVI Grip Josh Dunn.

I shot all of the aerials with a Libra stabilised head, Red Epic and a wide zoom. Alfie Speight was my pilot and we achieved some really dynamic images.

I had a third Epic with a long lens dedicated to my B Camera Team. Operated by Takashi Chiba

Kanta Yamaguchi from Greentea Film & TV was the Line Producer, and we wrapped the shoot on time and on budget.

Quechua: Sac à dos Extend

Filmed in Queenstown New Zealand on the MoVI M10 with a Red Epic Camera and Leica R Lenses.

Director: Romain Dec
DP/MoVI Operator: Ben Ruffell
2nd DP: Simon Favier

Appalanchia

I was the Director of Photography on this Korean Commercial for Appalanchia Bikes.
Michael Cha from Oyster was the Director.

Michael came well prepared, and we had several discussions about the look that we wanted to achieve. We decided to shoot on the Arri Alexa XT using Zeiss Ultra Primes.

For the tracking scenes I used a bungy rig, and had Josh Dunn as my key grip.

Auto Montage

DP: Ben Ruffell

A collection of shots from recent car commercials filmed throughout New Zealand.

Peugeot: 208 GTi

Peugeot 208 GTi vs Jaden Leeming

Following on from our Red Bull: Conquer the Crown film, Director Ryan Heron asked me to DP this clip for Peugeot and Red Bull.

Ryan wanted the piece to be dark and moody. It was a great lighting challenge. I decided to put in a row of Par Can's along the back wall to add some visual interest and backlight the smoke. With the shiny black Peugeot I was basically playing with large reflected sources.

I shot on Red Epic as the main camera. Haimona Ngata was my B Camera Operator on a Red Scarlet.

We bought in Daryl from Phantom Effects with his Phantom camera on the second shoot day. I shot this at 1000fps, for the stunt sequence. This involved a pretty substantial relight to lift the levels for the Phantom exposure, while keeping the dark moody look that we had established.
I am really happy with the spot. It was a big job and a busy couple of days. With everyone on the same page we came in on time, and on budget. There will be commercial cut downs on broadcast television soon.

Red Bull: Conquer the Crown

Director Ryan Heron asked me to be the Director of Photography for this clip for Red Bull.


This job involved a lot of logistics. There was plenty of prep, and we had a great, experienced crew. We were able to section off the road into three parts. With each section we were able to have a five minute road closure every thirty minutes. Which mean't we could send Mad Mike Whiddett through for one run each block. With such a small shooting window we needed to make the most of each run.

We used several cameras on the job. Two Red Scarlet's shooting at 4K so that we could reframe and stabilise in post. I shot one of the Scarlet's for the establishers and end sequence, and it was also the camera I had on the tracking vehicle. Simon Tutty operated the other Scarlet on the tripod shots. Jamie McKenzie bought down his Sony F5 and he was shooting the slider shots. Daryl from Phantom Effect came down with a Phantom V642 which we shot at frame rates up to 2500fps. Minicam expert Ben McAlister was in charge of the Go Pro Hero 3's. Finally, we had Peter Thompson there with his Cineflex in the helicopter.

We were lucky enough to have Pete Bradshaw as the Grip / Precision Tracking Vehicle driver. It was the last job for the 'Expert' vehicle before retirement… and I think we gave it a good send off. I shot from both the front and the rear using a gyro stabilised bungy system. We planned through the shots careful, and chose the corners where mike would be at a close (but safe) distance to the lens. We essentially kept to separate lanes and Mike would then drift the car through frame with Pete holding a safe line, and me holding on and locking into the frame that I wanted. It was fantastic seeing the control that Mike had and the shots that we were able to pull off.

Post Production was handled by Mandy in Auckland with Smoke Artist Andy Timms and Colourist Dave McLaren.

Nike: Peetu Piiroinen

Director / DOP: Ben Ruffell

The star of the show is Peetu. He is one of the most exciting riders on the TTR World Snowboard Tour (he is the first athlete to win it twice in a row). Peetu is a hugely talented rider, and a very nice guy. It was a pleasure working with him.

The concept of the spot was "Lone Man on Mountain". The backbone of the spot is made up with a very slow jib up his body (showing the Nike 6.0 product) as other riders talk about Peetu's skills in the voice over. Peetu is famous for being very softly spoken. He is quiet and does not boast about his talent at all, he just gets on with the job at hand. So in the spot, Peetu does what he does best, and other riders do the talking for him.


We decided to shoot at Snow Park as we wanted to take advantage of the golden hour light at dusk. The pipe was closed to the public, shaped and we had Sam Lee on a Skidoo to reset Peetu and move equipment.

The concept called for a slow motion, shallow depth of field look. To achieve this I decided to use my Sony PMW-EX3 with Letus Lens Adaptor. This allowed me to use my beautiful Nikon Prime Lenses. I used a Cine Gamma Profile that makes the images look really nice, and gives some room in post for the colour grade. I also added a NanoFlash to the camera. The NanoFlash is a fantastic box of tricks that allowed me to record at 4:2:2 220mbs 720 50P. So we were capturing everything in the highest possible quality and colourspace at 50 frames per second.

A bit of shooting was done on my Canon 5D2. I used it for the timelapses and for a couple of the shots of Peetu. It cuts in nicely with the main camera, even with the reduced colourspace. I used the same Nikon lenses on the Canon camera.

Ssang Yong: Rexton

Directed by Leigh Hart from Moon TV.

We only had one day to shoot the job, and there was a lot to get through. Stunts, pyrotechnics, bonnet rig, side rig, dialog, tracking vehicle and aerials. The only way to achieve all of this in one day was to shoot without road closures. Moon TV found a great private track at Boomrock, just outside Wellington.

I flew up from Queenstown with my Grip, Josh Dunn. All of my equipment is packaged for travel. I bought up a Red Epic, Red Scarlet, Leica Primes, Canon Zooms, Monitors, Mattebox, Filters etc. Everything we needed for a two camera shoot. Josh travelled with his full rigging kit and even a 3' slider. With my Air New Zealand status we flew with all of this gear for only $60 excess luggage costs!

Because we had a very small crew we were able to move quickly and efficiently. Leigh was Directing as well as staring in the commercial. Once I was happy with a take, we would review playback directly from the Red camera and move on.

Having both the Red Epic and the Red Scarlet on set was a huge time saver. I was able to shoot one of the cameras while the second one was being pre-rigged for the next set up. This allowed us to move very quickly. Also, because of their small size I was able to rig both cameras on the bonnet at the same time, so we could shoot a two shot and a close up simultaneously.

UKETAMAU

I Directed this Documentary Film in Japan in 2012, where I was invited to be an Artist in Residence.

This was an incredible shoot. Very physical, it was hot and humid and there were many challenges.

I travelled to Yamagata Provence in Northern Japan. It was an amazing place. Very spiritual, and I did not see another westerner for a week.

My crew consisted of Mile Nagaoka from Green Valley and Camera / Sound Assistant Taigo Kawaguchi. We communicated in pigeon English.

We were here to film the Yamabushi training. Essentially, this involved us taking part in the training, as well as making the film.

Fumihiro Hoshino is a 13th generation Yamabushi, someone who guides people on Shugyo ascetic training in Japan. He was the Master, and I decided to structure the film around him. It was very challenging interviewing him in loosely translated Japanese, but after spending several days with the group - I was confident that I understood the sentiment.

The first night was wonderful. An amazing meal with just the crew and the Yamabushi Master. The next day was a little bit different….

We began to walk. Lot's of walking. Day one I was told that we would take a short stroll… we walked up 4500 steps to a temple. This in itself was a challenge, but to throw in the heavy Red Epic camera equipment, and the awkward clothing, and I struggled. Myself and my crew did not make it all the way, we were carrying too much weight and my giant western feet that stuck out of the split toe Japanese slippers were in pain.

We were all living in the same tatami mat room. I grabbed a corner for battery charging and downloading.

A far cry from the first night's meal, we were now on a starvation diet consisting of one bowl of rice, soup and two vegetables.

The chanting and prayers stopped at 11pm, and after a mosquito filled night we were woken at 4am.

This was the big day, and I had negotiated to be allowed to wear my own clothes and shoes. This was to prove to be a great decision. I stripped back the camera equipment to two lenses, 3 batteries and 3 Redmags. Weight was going to be critical. (I must also admit that I cheated and packed some extra water, a Pocari Sweat Isotonic Drink… and a couple of candy bars…)

I was told that the walk would take us about 2 to 3 hours… so I assumed 5. In the end the hike up the mountain took over 8 hours. It was a massive day. I had to film the group as they would pass me, then run ahead to catch up and repeat the process. It was tough, but it was also absolutely beautiful and satisfying.

Chanting and prayers again along with the starvation meal. Everyone was exhausted. I was so tired that I really had to concentrate on my downloading… I could not afford to make a mistake.

Up at 4am again, woken by the sound of the conch. We loaded up and started off back to the 4500 steps that had defeated me earlier. I have to say, after the previous days marathon, it was a breeze. I practically ran up the steps, and the morning light was beautiful to work with.

We got to the top, and the temple was very cool. I looked over… and a car drove past. I couldn't believe it! Apparently there was a road up to the top, but we took the steps!

The weekend was over. Everyone was tired, but we all had a great sense of accomplishment. We sat around and had a feast, including the biggest cup of Sake I have ever seen. It was a great experience, and I was honoured to be invited into the group and I am proud to be Yamabushi.

http://www.ruff.co.nz/Blog/Blog.php

Nurofen: Be Sure

I was the Director of Photography for this commercial. We shot in Auckland on my Red Scarlet camera using a 24mm Zeiss Ultra Prime lens.

Sam Scott produced the advert and he was also responsible for the 3D set. (The only physical set in the bathroom is the mirror, cupboard and the set flat that it's attached to. Everything else is generated).

Miquel Ubeda was the 2D Compositor and the Colorist.

Munns

Munns Branding Commercial
http://www.munns.co.nz/

Directed by Robin Shingleton

Director of Photography Ben Ruffell
www.ruff.co.nz

Produced by Amanda Jenkins
http://ajfilms.co.nz/

Production Company
http://www.whitebait-tv.com/

Colourist Miquel Ubeda
http://www.imdb.com/name/nm1837300/

We filmed this brand advert for Munns in Oamaru, South Island, New Zealand.

We shot on the Red Scarlet camera at 3K 48fps. I used Canon L series lenses.

Andy Rennie from Bright Lights was my Gaffer. http://brightlights.co.nz/

The shoot was very tight, with only 3 hours to shoot with the talent!

1791 Diamonds: Say Yes

Director: Darren Simmonds
Director of Photography: Ben Ruffell

Filmed in Central Otago and Wellington New Zealand. All effects achieved in camera.

www.ruff.co.nz