Case Study

Title:

Title:

Tight Moves & Virtual Roads: A Cadillac Case Study

Commercial

Commercial

Commercial

Cinematographer

Luc Delamare

Lighting

Lighting

Lighting

Behind the Scenes

Behind the Scenes

Behind the Scenes

Camera Movement

Camera Movement

Camera Movement

Overview


Industry:

Car Industry

Location:

Los Angeles

Grip Package:

Legacy Grip 5 Ton

Shoot Days:

3

Key Grip

Brendan Riel

the crew

Gaffer:

Vincent Valentin

Best Boy Grip:

Connor Colby

Grips:

Kyle Sorvig, Thorn Shaffer, Matthew Seest, Logan Alesso

The Overview

LED walls used to be this big scary new tech. In the early days things like hertz and frame rates would be either a mystery or a guessing game, lighting was a challenge, and camera tracking was a nightmare. The playbook had not yet been created. Just like with the advent of LED lighting, things take time to adjust and integrate into workflows. You realize what systems need improving, understand your base standards for execution, and figure out all the little quirks and tips that come with new technology.

We put the virtual production workflow to the test during our shoot for Cadillac.

With one combined prelight / tech rehearsal day, and two shoot days, this set of Cadillac TVCs featured 5 different vehicles in 6 different virtual environments.  All of the vehicle interiors for the spots were captured with ICVFX (in camera vfx) on Nant Studio’s LED Volume 1 in El Segundo. With the help of some extensive prep & previz, Brendan, Vince, and I were able to move at record pace for a commercial with intricate technical requirements.


CAMERA SUPPORT

Scorpio & Libra Head

Operator: Garrett Dorin, Collective Camera Cranes. Most camera moves were done on this crane—even interior profiles with the door off. A second body would've helped, but Garrett’s precision made it work within budget.

Scorpio & Libra Head

Operator: Garrett Dorin, Collective Camera Cranes. Most camera moves were done on this crane—even interior profiles with the door off. A second body would've helped, but Garrett’s precision made it work within budget.

Scorpio & Libra Head

Operator: Garrett Dorin, Collective Camera Cranes. Most camera moves were done on this crane—even interior profiles with the door off. A second body would've helped, but Garrett’s precision made it work within budget.

Modulus-X “Through-the-Windshield” Rig

Brendan’s team rigged a stripped-down Alexa Mini LF through the windshield of a Cadillac XT6 with a 40mm C-Series 2x. Clearance was tight—no way even a side-mounted Mini-Libra would fit.

Modulus-X “Through-the-Windshield” Rig

Brendan’s team rigged a stripped-down Alexa Mini LF through the windshield of a Cadillac XT6 with a 40mm C-Series 2x. Clearance was tight—no way even a side-mounted Mini-Libra would fit.

Modulus-X “Through-the-Windshield” Rig

Brendan’s team rigged a stripped-down Alexa Mini LF through the windshield of a Cadillac XT6 with a 40mm C-Series 2x. Clearance was tight—no way even a side-mounted Mini-Libra would fit.

J.L. Fisher Model 10 Dolly

Everything else was standard slider on the Fisher 10, quickly jumping around sides of the vehicles and lining up quick and dirty tracking shots. Full Accessory package, a bit of track for the windshield push.

J.L. Fisher Model 10 Dolly

Everything else was standard slider on the Fisher 10, quickly jumping around sides of the vehicles and lining up quick and dirty tracking shots. Full Accessory package, a bit of track for the windshield push.

J.L. Fisher Model 10 Dolly

Everything else was standard slider on the Fisher 10, quickly jumping around sides of the vehicles and lining up quick and dirty tracking shots. Full Accessory package, a bit of track for the windshield push.

The Setups

With 6 different setups, it’s important to distinguish the various challenges that each might entail.  As both the DP & Virtual Production Supervisor overseeing the previz, virtual environments, and final vfx shots, I’m in a fortunate position to help dictate how these things get broken down at the granular level.  As far as grip & camera goes, this meant talking with Brendan about what I was trying to accomplish through both previz & prep conversations.  We determined that the general footprint would be relatively small, with a clear focus on camera support.  However, with several talent inside vehicles (several of which were dark leather) Brendan, Vince, & I knew there was still plenty of lighting to be done as LED walls—while great for reflections and ambience—did not provide the push required by the look I was going for.

Day Ext. Museum Parking Lot - Static

Arguably the simplest setup, this was done with a precision placement for a T12 (as the backlight) that was planned during the tech scout.  This was the only point put up in the LED ceiling (the stage has to remove a panel to make way), and we lined it up just right thanks to some help from tech viz lighting plots I made.  It was important to pick a spot that both rake the floor in a pleasing way, as well as not reveal the unit in the reflection of the vehicle windshield.  Outside of that single unit, Brendan and I made use of the virtual grip tools available in ICVFX: a large clean blue card on the right side to help clean up the reflections in the side paneling, and some virtual negative (essentially turning the wall off) behind camera so that the front grill of the vehicle wasn’t getting too many distracting pings.


man charging electric car



Day Ext. - Downtown City - In Motion

Brendan and his team made excellent use of a custom Modulus-X rig to get the camera through the front of the SUV (more about this below).  With such a dark interior, I definitely had to keep pushing more and more light to bring out the detail, and it was equally as important to cut those units properly to fake some slashes as well as control the fall-off through the various seats.


family driving in a car



Day Int. - Coastal Road - In Motion

This clean profile with a sunset look becomes much simpler to accomplish: add an 8’ soft push through the front windshield that has the blue/purple tones of the overall ambience, and a sharper & warmer patch of light from a more backlit position to cheat the setting sun.  I think this was most likely a Skypanel or Vortex through some grid cloth, and a Leko through opal frost.


couple driving in a car


Night Ext. - Coastal Overlook - In Motion

A fun orchestration of camera and vehicle movement lead to what I believe is a completely believable “car pulls up” exterior moment.  Timing with the crane and car landing at its mark was meticulous, despite only being maybe a 10ft move.  Add to that the requirement for a super subtle soft key that had to be gripped off the vehicle so it wasn’t obvious from the outside & ground, but still have enough presence to push through the side & front windshield.


couple inside a car



Day Int. - Mountain Road - In Motion

This shot used a similar setup from the Coastal Road, but with the added complexity of having the camera up close to the driver inside the car.  Garrett Dorin, our crane op, orchestrated some very small yet difficult moves covering only a few feet.  These quick and tiny moments are always difficult to capture with a bulky camera, and a lesson learned for me here was how vital a 2nd camera body would have been.


man driving car along mountain road



Day Int. - Forest Road - In Motion

Our final setup called for a bit more of a classic poor-man’s-process lighting gag: scattered forest sunlight during a driving moment.  We elected to use the T12 bounced off a 4’ mirror to gain some fall-off (it’s a tight squeeze even in a medium/large LED volume), and Brendan’s team employed a branch-o-loris windmill.  The effect is subtle in the shoot, but really helps the moment. Adding those subtleties for variations in lighting really helps sell effects like this.


woman driving car through forest
We pulled the doors on a lot of the cars for easier crane movement

We pulled the doors on a lot of the cars for easier crane movement

We pulled the doors on a lot of the cars for easier crane movement

We pulled the doors on a lot of the cars for easier crane movement

We pulled the doors on a lot of the cars for easier crane movement

We pulled the doors on a lot of the cars for easier crane movement

Also pulled a few LED panels to rig up this T12

Also pulled a few LED panels to rig up this T12

Also pulled a few LED panels to rig up this T12

Also pulled a few LED panels to rig up this T12

Also pulled a few LED panels to rig up this T12

Also pulled a few LED panels to rig up this T12

In a virtual reality environment we can put a big bounce / source anywhere on the wall

In a virtual reality environment we can put a big bounce / source anywhere on the wall

In a virtual reality environment we can put a big bounce / source anywhere on the wall

In a virtual reality environment we can put a big bounce / source anywhere on the wall

In a virtual reality environment we can put a big bounce / source anywhere on the wall

In a virtual reality environment we can put a big bounce / source anywhere on the wall

Our Modulus-X windshield push rig on the Fisher 10

Our Modulus-X windshield push rig on the Fisher 10

Our Modulus-X windshield push rig on the Fisher 10

Our Modulus-X windshield push rig on the Fisher 10

Our Modulus-X windshield push rig on the Fisher 10

Our Modulus-X windshield push rig on the Fisher 10

On set mvp

MVP on this job goes to our technocrane operator. Garrett executed precise moves flawlessly. We had tons of shots that required intricate moves that needed to hit specific marks and Garrett delivered flawlessly. He knows his gear, gets professional results, and makes the shoot go smoothly. Thanks, Garrett!

Gear Used the Most

Gear Used the Most

4x Diffusion

4x Diffusion

4x Diffusion

J.L. Fisher

J.L. Fisher

J.L. Fisher

Modulus-X™ Truss

Modulus-X™ Truss

Modulus-X™ Truss

Specialty gear

Mini Libra Head

Mini Libra Head

Mini Libra Head

Scorpio 17

Scorpio 17

Scorpio 17

4’ Mini Original Camera Slider

4’ Mini Original Camera Slider

4’ Mini Original Camera Slider

built with

Original Camera Slider

Original Camera Slider

Original Camera Slider

Scorpio

Scorpio

Scorpio

Modulus-X™

Modulus-X™

Modulus-X™

by:

Luc Delamare

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rig breakdown

20x20 Flyswatter

by:

Brendan Riel

My standard swatter built. Triangle truss with 1 steel. 8’ verticals for the goalpost with a 5’ horizontal. Wigs from the bucket to the tri truss. Kickers on the goalpost. 20’ kickers from the goalpost to the 20x20 frame. 2x belly lines to finish it off.

rig breakdown

20x20 Flyswatter

by:

Brendan Riel

My standard swatter built. Triangle truss with 1 steel. 8’ verticals for the goalpost with a 5’ horizontal. Wigs from the bucket to the tri truss. Kickers on the goalpost. 20’ kickers from the goalpost to the 20x20 frame. 2x belly lines to finish it off.

rig breakdown

20x20 Flyswatter

by:

Brendan Riel

My standard swatter built. Triangle truss with 1 steel. 8’ verticals for the goalpost with a 5’ horizontal. Wigs from the bucket to the tri truss. Kickers on the goalpost. 20’ kickers from the goalpost to the 20x20 frame. 2x belly lines to finish it off.

Nant Studios LED wall

Case Study

Tight Moves & Virtual Roads: A Cadillac Case Study

by:

Luc Delamare

LED walls used to be this big scary new tech. In the early days things like hertz and frame rates would be either a mystery or a guessing game, lighting was a challenge, and camera tracking was a nightmare. The playbook had not yet been created. Just like with the advent of LED lighting, things take time to adjust and integrate into workflows. You realize what systems need improving, understand your base standards for execution, and figure out all the little quirks and tips that come with new technology.

We put the virtual production workflow to the test during our shoot for Cadillac.

With one combined prelight / tech rehearsal day, and two shoot days, this set of Cadillac TVCs featured 5 different vehicles in 6 different virtual environments.  All of the vehicle interiors for the spots were captured with ICVFX (in camera vfx) on Nant Studio’s LED Volume 1 in El Segundo. With the help of some extensive prep & previz, Brendan, Vince, and I were able to move at record pace for a commercial with intricate technical requirements.

Nant Studios LED wall

Case Study

Tight Moves & Virtual Roads: A Cadillac Case Study

by:

Luc Delamare

LED walls used to be this big scary new tech. In the early days things like hertz and frame rates would be either a mystery or a guessing game, lighting was a challenge, and camera tracking was a nightmare. The playbook had not yet been created. Just like with the advent of LED lighting, things take time to adjust and integrate into workflows. You realize what systems need improving, understand your base standards for execution, and figure out all the little quirks and tips that come with new technology.

We put the virtual production workflow to the test during our shoot for Cadillac.

With one combined prelight / tech rehearsal day, and two shoot days, this set of Cadillac TVCs featured 5 different vehicles in 6 different virtual environments.  All of the vehicle interiors for the spots were captured with ICVFX (in camera vfx) on Nant Studio’s LED Volume 1 in El Segundo. With the help of some extensive prep & previz, Brendan, Vince, and I were able to move at record pace for a commercial with intricate technical requirements.

Nant Studios LED wall

Case Study

Tight Moves & Virtual Roads: A Cadillac Case Study

by:

Luc Delamare

LED walls used to be this big scary new tech. In the early days things like hertz and frame rates would be either a mystery or a guessing game, lighting was a challenge, and camera tracking was a nightmare. The playbook had not yet been created. Just like with the advent of LED lighting, things take time to adjust and integrate into workflows. You realize what systems need improving, understand your base standards for execution, and figure out all the little quirks and tips that come with new technology.

We put the virtual production workflow to the test during our shoot for Cadillac.

With one combined prelight / tech rehearsal day, and two shoot days, this set of Cadillac TVCs featured 5 different vehicles in 6 different virtual environments.  All of the vehicle interiors for the spots were captured with ICVFX (in camera vfx) on Nant Studio’s LED Volume 1 in El Segundo. With the help of some extensive prep & previz, Brendan, Vince, and I were able to move at record pace for a commercial with intricate technical requirements.

rig breakdown

ModX Rolling Soft Toplight

by:

Brendan Riel

We built this mobile toplight softbox using 6" ModX truss to serve four different sets inside a tight studio space with limited overhead clearance. The goal was to keep costs down and avoid building duplicate overhead rigs or ground units for each set. So, we designed a rolling, double-layered softbox that could easily move from set to set—and double as an in-frame ceiling piece when needed.

The structure measured 14’x14’ OD and held two 12x12 frames: one with 1/2 grid and one with bleached muslin. The bleached muz was rigged with a pulley system, allowing us to raise or drop the rag when we needed to bring it into the scene as a ceiling element. We punched LiteTile through both rags for soft, consistent coverage.

For mobility, we mounted the whole rig on C&C Studio Services tri-casters.

rig breakdown

ModX Rolling Soft Toplight

by:

Brendan Riel

We built this mobile toplight softbox using 6" ModX truss to serve four different sets inside a tight studio space with limited overhead clearance. The goal was to keep costs down and avoid building duplicate overhead rigs or ground units for each set. So, we designed a rolling, double-layered softbox that could easily move from set to set—and double as an in-frame ceiling piece when needed.

The structure measured 14’x14’ OD and held two 12x12 frames: one with 1/2 grid and one with bleached muslin. The bleached muz was rigged with a pulley system, allowing us to raise or drop the rag when we needed to bring it into the scene as a ceiling element. We punched LiteTile through both rags for soft, consistent coverage.

For mobility, we mounted the whole rig on C&C Studio Services tri-casters.

rig breakdown

ModX Rolling Soft Toplight

by:

Brendan Riel

We built this mobile toplight softbox using 6" ModX truss to serve four different sets inside a tight studio space with limited overhead clearance. The goal was to keep costs down and avoid building duplicate overhead rigs or ground units for each set. So, we designed a rolling, double-layered softbox that could easily move from set to set—and double as an in-frame ceiling piece when needed.

The structure measured 14’x14’ OD and held two 12x12 frames: one with 1/2 grid and one with bleached muslin. The bleached muz was rigged with a pulley system, allowing us to raise or drop the rag when we needed to bring it into the scene as a ceiling element. We punched LiteTile through both rags for soft, consistent coverage.

For mobility, we mounted the whole rig on C&C Studio Services tri-casters.

Case Study

Frames, Ladder Pods, and Westerns On This Commercial

by:

Brendan Riel

Lots of fun on this 3 day commercial shoot with a couple of different locations for a well known popcorn brand. Our first location was at Air Hollywood. We shot both inside in an airplane buck and outside in the parking lot. For our first setup outside in the parking lot we built a Modulus-X 9” truss rig and secured it onto a 12054 telehandler to hang a hot air balloon basket. I wanted to get the pick point out a little further away from the carriage which is why we didn’t just pick it off the bottom hook of the carriage. We used Modulus-X 9” because I co-own Division and we have it readily available. When building a rig that sticks out further than the telehandler it’s generally good practice to integrate a vertical member into your rig. This distributes the force in the components (in this case a singular piece of truss) sticking out. We secured the vertical portion of the rig to the carriage as well with both a basketed 2” ratchet and SK clamps. The load rating of 9” ModX is insane, so it was never really a worry, but it’s good practice. A 6’ stick of the 9” boasts a roughly 15,000# uniform center load WLL just to give you an idea.

The hot air balloon company took care of attachment for the balloon to the telehandler - they have a special rig they use all the time with film productions.

It was overcast and drizzly but we set up so that if the sun did peak out it would be backlit. Popped a 20x20 chroma blue behind the basket for vfx as they were supposed to be way up in the sky. Whenever I’m worked with a 20x20 frame that doesn’t work tabled I like to put it on either black bird cranks or long johns. It makes it way more manageable to work with. We shaped in some negative fill with a 12x20 water solid and angled a 20x20 water solid swatter overhead. Gaffer Mathias Peralta key’d talent with an M90 thrown through some color and diffused through a 12x grid. He backlit with an 18k on a 60’ articulating boom and blasted through some color on that too.

After we got rained out we finished off a bit of the balloon basket inside still against blue screen and transitioned over to the airplane. We lit with more warm sun to match the hot air balloon look and injected some day blue ambience into the cockpit to simulate the clear sky.

Case Study

Frames, Ladder Pods, and Westerns On This Commercial

by:

Brendan Riel

Lots of fun on this 3 day commercial shoot with a couple of different locations for a well known popcorn brand. Our first location was at Air Hollywood. We shot both inside in an airplane buck and outside in the parking lot. For our first setup outside in the parking lot we built a Modulus-X 9” truss rig and secured it onto a 12054 telehandler to hang a hot air balloon basket. I wanted to get the pick point out a little further away from the carriage which is why we didn’t just pick it off the bottom hook of the carriage. We used Modulus-X 9” because I co-own Division and we have it readily available. When building a rig that sticks out further than the telehandler it’s generally good practice to integrate a vertical member into your rig. This distributes the force in the components (in this case a singular piece of truss) sticking out. We secured the vertical portion of the rig to the carriage as well with both a basketed 2” ratchet and SK clamps. The load rating of 9” ModX is insane, so it was never really a worry, but it’s good practice. A 6’ stick of the 9” boasts a roughly 15,000# uniform center load WLL just to give you an idea.

The hot air balloon company took care of attachment for the balloon to the telehandler - they have a special rig they use all the time with film productions.

It was overcast and drizzly but we set up so that if the sun did peak out it would be backlit. Popped a 20x20 chroma blue behind the basket for vfx as they were supposed to be way up in the sky. Whenever I’m worked with a 20x20 frame that doesn’t work tabled I like to put it on either black bird cranks or long johns. It makes it way more manageable to work with. We shaped in some negative fill with a 12x20 water solid and angled a 20x20 water solid swatter overhead. Gaffer Mathias Peralta key’d talent with an M90 thrown through some color and diffused through a 12x grid. He backlit with an 18k on a 60’ articulating boom and blasted through some color on that too.

After we got rained out we finished off a bit of the balloon basket inside still against blue screen and transitioned over to the airplane. We lit with more warm sun to match the hot air balloon look and injected some day blue ambience into the cockpit to simulate the clear sky.

Case Study

Frames, Ladder Pods, and Westerns On This Commercial

by:

Brendan Riel

Lots of fun on this 3 day commercial shoot with a couple of different locations for a well known popcorn brand. Our first location was at Air Hollywood. We shot both inside in an airplane buck and outside in the parking lot. For our first setup outside in the parking lot we built a Modulus-X 9” truss rig and secured it onto a 12054 telehandler to hang a hot air balloon basket. I wanted to get the pick point out a little further away from the carriage which is why we didn’t just pick it off the bottom hook of the carriage. We used Modulus-X 9” because I co-own Division and we have it readily available. When building a rig that sticks out further than the telehandler it’s generally good practice to integrate a vertical member into your rig. This distributes the force in the components (in this case a singular piece of truss) sticking out. We secured the vertical portion of the rig to the carriage as well with both a basketed 2” ratchet and SK clamps. The load rating of 9” ModX is insane, so it was never really a worry, but it’s good practice. A 6’ stick of the 9” boasts a roughly 15,000# uniform center load WLL just to give you an idea.

The hot air balloon company took care of attachment for the balloon to the telehandler - they have a special rig they use all the time with film productions.

It was overcast and drizzly but we set up so that if the sun did peak out it would be backlit. Popped a 20x20 chroma blue behind the basket for vfx as they were supposed to be way up in the sky. Whenever I’m worked with a 20x20 frame that doesn’t work tabled I like to put it on either black bird cranks or long johns. It makes it way more manageable to work with. We shaped in some negative fill with a 12x20 water solid and angled a 20x20 water solid swatter overhead. Gaffer Mathias Peralta key’d talent with an M90 thrown through some color and diffused through a 12x grid. He backlit with an 18k on a 60’ articulating boom and blasted through some color on that too.

After we got rained out we finished off a bit of the balloon basket inside still against blue screen and transitioned over to the airplane. We lit with more warm sun to match the hot air balloon look and injected some day blue ambience into the cockpit to simulate the clear sky.

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Website Links

Upcoming

Shows

coming soon

Shop

coming soon

Podcast

coming soon

community

coming soon

Join our newsletter & stay up to date

By subscribing you agree to with our privacy policy and provide consent to receive updates from our company.

Legacy Grip 2025 All Rights Reserved

Consent Preferences

Website Links

Upcoming

Shows

coming soon

Shop

coming soon

Podcast

coming soon

community

coming soon

Join our newsletter & stay up to date

By subscribing you agree to with our privacy policy and provide consent to receive updates from our company.

Legacy Grip 2025 All Rights Reserved

Consent Preferences