‘Love from Land Rover’



I was the Director / DP for this Land Rover Commercial.

The Commercial was part of a viral campaign:

Four university friends from New Zealand had listed their beaten and broken 1957 Series I Land Rover, christened ‘The Landy’, for sale on an auction site, following 15 years of ownership. The listing told the story of their many adventures and their sorrow at parting with their beloved Land Rover.
Fate intervened when the team at Land Rover New Zealand read the ad and hatched a covert operation with Will’s wife, Claire, to give ‘The Landy’ a painstaking ground-up mechanical restoration.
And now, for Valentine’s Day, the four friends have been reunited with their Series I thanks to Land Rover.



I worked closely with the agency Y&R, and Location Scout Phil Turner. We established the elements of the journey that the Land Rover would undertake. (We wanted to include an iconic river crossing, the journey through a forest, and the climbing of a mountain).

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We had a very small crew, which was an asset for us. It enabled me to work quickly and use several locations that are off the beaten track.

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I filmed all of the tracking shots with the MoVI M15.

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My second Dragon was in Production Mode and this let us move quickly between the various set-ups.

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It was a terrific shoot for such an iconic vehicle. I really enjoyed working with the crew, agency and client. It was a fitting tribute to mark the end of production of a motoring legend.



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Mitsubishi 'Triton'



Director Masaki Yamazaki asked me to DP this car commercial in Western Australia.

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The creative was very exciting.

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We started with the truck flying through the air. I shot this sequence on a Phantom Flex 4K.

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We then have a series of tracking shots in the desert. (No fancy tracking vehicles here... we made it work with a local buggy).

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I travelled with two of my Red Dragon cameras and my Cooke lenses. I also bought a MoVI M10 and my Grip Josh Dunn with me.

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We picked up additional local crew and equipment out of Adelaide and Brisbane.

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The filming was mostly on location at Parachilna. A terrific place to film... but so many flies!

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We finished off the advert with city tracking in Adelaide.

It was a great shoot with a good crew and it was fun to be filming in the outback again.
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Cam Scott 'Somethin bout a Girl'



My old friend Josh Wallace asked me to DP this music video for him. Josh and I used to work together over ten years ago, when we had a small production company and released a couple of Snowboarding films. Josh had a great concept, and the song was good. I was happy to come on board.

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We filmed for three days, in and around Queenstown.

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I used my Red Epic Dragon cameras, and I was assisted by my local crew. Cam Stoltz Camera Assist, Josh Dunn Grip, and John Hogan Gaffer.

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I filmed the first part of the clip as a bit of a road movie, prodominently with a handheld camera, and an organic feel.

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There was a flashback component. I didn't want to go the usual cheesy post treatment for this, so I achieved the effect in camera. I used a custom made lens, and shot right on sundown.

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The performance was one of my favourite setups. I always like creating an environment with light. We chose a small Church Hall as the location, and I had a great time lighting it to look like a small town pub concert.

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We didn't have the budget for a Dolly or a Jib... but, luckily I own a MoVI, and my Grip Josh Dunn was happy to haul it around the concert. I operated remotely from a 17" monitor.

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We continued using the MoVI on some of the Jetboat shots, and we also used a Quadcopter with a GoPro4 on it for the aerials of the boat.

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It was a very ambitious shoot, with lots of locations and components. But, it was a great opportunity to make something we could be proud of, and I really enjoyed working with Josh again.

Stills Photography by: Paul Green, Holly Wallace, Cam Stoltz



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Bridgestone 'Blizzak VRX'





Director Toshihisa Koike asked me to film these two commercials for him in New Zealand. The agency was Dentsu, the Production Company Dentsy Creative Cross, with AJ Films working as the New Zealand Line Production Company.

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The two commercials were both very different, and very technical. We had to shot the Tyres performing on very specific road conditions.

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To achieve this, we filmed at SHPG near Queenstown, New Zealand. They had the facilities that we needed to make various road conditions. Varying from pure ice, solid snow and slushy snow with road surface below. Art Director Ken Turner did a great job liaising between the various teams to deliver the surface that the client needed.

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We experienced some extreme weather on the first day. A storm came through and we experienced wind chill of minus 18 degrees celsius. We achieved a few shots before the weather forced us to wrap early. Thankfully, it cleared and we had good weather for the remaining two shoot days.

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I used two Red Epic Dragon cameras. I always prefer to work with two cameras when shooting car commercials. It saves a lot of time, and lets me move from one set up to the next with no delays.

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We had a mixture of rig shots, built by the great grip team of Sam Strain, Josh Dunn and Chris Thomson.

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We also shot a variety of tracking shots, where I used the MoVI M10 on a small tracking buggy.

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The second spot involved a few stock shots from Japan and also several VFX shots, where the background was composited in to match with the foreground elements that I shot in New Zealand.

With 15 second spots, so much of what you shoot on the day does not make the final broadcast edit. There is also an online web version.



It was a great shoot, and the client is very happy.






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Smile 'Pyaw Aung Nay'

Smile 'Pyaw Aung Nay' from Ben Ruffell on Vimeo.



I travelled to Myanmar, (formerly known as Burma) back in 2013 to shoot and direct this music video for the pop star 'Smile'.

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I bought one of my Red Epic cameras and a set of lenses. I picked up local crew and basic lighting and grip equipment.

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I took advantage of a local nightclub for the dance scenes. We had a great group of enthusiastic extras. Communication was challenging, but I managed to control the club's lighting fixtures. I also supplemented the disco lights with beauty lighting on Smile and her onscreen partner.

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The bulk of the performance was at the beautiful park location, that I shot past dusk... until we were ordered out by the security guards.

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For the second performance scene I had the lighting team make up festoons of lightbulbs in a semi covered location. We only had the location during the day, so I blacked out two sides, used the ambient daylight for fill and keyed with HMI's.

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It was a challenging shoot. We had limited access to locations, and no art department. The local crew that I had were a great bunch. We had very limited resources, but everyone was there to help and solutions were always found.
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